{"id":3023,"date":"2022-02-07T21:05:00","date_gmt":"2022-02-07T21:05:00","guid":{"rendered":"https:\/\/morkemeditasjoner.no\/?p=3023"},"modified":"2026-04-19T17:58:53","modified_gmt":"2026-04-19T17:58:53","slug":"oppi-fjellet-up-in-the-mountains","status":"publish","type":"post","link":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en","title":{"rendered":"Oppi fjellet \/ Up in the mountains"},"content":{"rendered":"\n<p>In February 1995, the supergroup Storm<sup data-fn=\"ba3eecea-11eb-4993-8cf6-a60a39e96ce0\" class=\"fn\"><a href=\"#ba3eecea-11eb-4993-8cf6-a60a39e96ce0\" id=\"ba3eecea-11eb-4993-8cf6-a60a39e96ce0-link\">1<\/a><\/sup> released their debut album <em>Nordavind<\/em>, a fusion of old traditional folk tunes and black metal. The Norwegian words <em>storm<\/em> and <em>nordavind<\/em> mean &laquo;storm&raquo; and &laquo;north wind&raquo; respectively in English. Storm started as a duo consisting of Sigurd &laquo;Satyr&raquo; Wongraven from Satyricon, and Gylve Fenris &laquo;Fenriz&raquo; Nagell from Darkthrone. Towards the end of the process of creating <em>Nordavind<\/em>, they brought in vocalist Kari Ruesl\u00e5tten from The 3rd and the Mortal.<sup data-fn=\"f5baa8e1-2a95-4f40-8876-d8658e1d9c3a\" class=\"fn\"><a href=\"#f5baa8e1-2a95-4f40-8876-d8658e1d9c3a\" id=\"f5baa8e1-2a95-4f40-8876-d8658e1d9c3a-link\">2<\/a><\/sup> This added finesse and musical sophistication to the release, but also led to a bitter dispute. More on that later.<\/p>\n\n\n\n<!--more READ MORE-->\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"1000\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/profilbilde.jpg\" alt=\"\" class=\"wp-image-1208\" style=\"width:250px;height:250px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/profilbilde.jpg 1000w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/profilbilde-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/profilbilde-150x150.jpg 150w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/profilbilde-768x768.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"wp-element-caption\">Helge Kaasin, forfatter M\u00f8rke meditasjoner.<\/figcaption><\/figure>\n\n\n\n<p class=\"has-base-color has-contrast-background-color has-text-color has-background has-link-color wp-elements-7a189b93b1b17e67f4c288d4a18030d2\">This article is speculative. It asks a number of questions that the performers this article discusses would probably be able to answer if asked, but it also asks a whole series of questions and makes claims that they probably would not be able to answer. Cultural structures affect individuals without them necessarily being aware of it. In addition to being speculative, I want the article to live. I will continuously place corrections, suggestions and details in the article, marked with date and name if desired. So if any of you readers have suggestions, objections, questions or more details, write it in the comments field below, or send me an email at <a href=\"mailto:helge@kaasin.no\">helge@kaasin.no<\/a>. And if the artists mentioned are interested in sharing their thoughts, nothing would be better.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"kapitler\">Chapters<\/h2>\n\n\n\n<ul class=\"wp-block-list\">\n<li><a href=\"#the-controversy\">The controversy<\/a>\n<ul class=\"wp-block-list\">\n<li><a href=\"#rueslatten-regrets\">Ruesl\u00e5tten regrets<\/a><\/li>\n\n\n\n<li><a href=\"#wongraven-regrets\">Wongraven regrets<\/a><\/li>\n\n\n\n<li><a href=\"#fenriz-enters-the-scene\">Fenriz enters the scene<\/a><\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><a href=\"#on-nordavind\">On Nordavind<\/a>\n<ul class=\"wp-block-list\">\n<li><a href=\"#pillarguritoppen-and-folque\">Pillarguritoppen and Folque<\/a><\/li>\n\n\n\n<li><a href=\"#a-little-more-about-the-fonts\">A little more about the fonts<\/a><\/li>\n\n\n\n<li><a href=\"#the-rest-of-the-booklet\" type=\"internal\" id=\"#the-rest-of-the-booklet\">The rest of the booklet<\/a><\/li>\n\n\n\n<li><a href=\"#asbjorn-from-medalhus\">Asbj\u00f8rn from Medalhus<\/a><\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><a href=\"#the-songs\">The songs<\/a>\n<ul class=\"wp-block-list\">\n<li><a href=\"#storm-nordavind-1995\">Storm, <em>Nordavind<\/em> (1995)<\/a><\/li>\n\n\n\n<li><a href=\"#innferd\">Innferd<\/a><\/li>\n\n\n\n<li><a href=\"#mellom-bakkar-og-berg\">Mellom bakkar og berg<\/a><\/li>\n\n\n\n<li><a href=\"#haavard-hedde\">Haavard Hedde<\/a><\/li>\n\n\n\n<li><a href=\"#villemann\">Villemann<\/a><\/li>\n\n\n\n<li><a href=\"#nagellstev\">Nagellstev<\/a><\/li>\n\n\n\n<li><a href=\"#oppi-fjellet\">Oppi fjellet<\/a><\/li>\n\n\n\n<li><a href=\"#langt-borti-lia\">Langt borti lia<\/a><\/li>\n\n\n\n<li><a href=\"#lokk\">Lokk<\/a><\/li>\n\n\n\n<li><a href=\"#noregsgard\">Noregsgard<\/a><\/li>\n\n\n\n<li><a href=\"#utferd\">Utferd<\/a><\/li>\n\n\n\n<li><a href=\"#oppunder-skrent-og-villmark\">Oppunder skrent og villmark<\/a><\/li>\n<\/ul>\n<\/li>\n\n\n\n<li><a href=\"#conclusion\">Conclusion<\/a><\/li>\n\n\n\n<li><a href=\"#questions\">Questions<\/a><\/li>\n\n\n\n<li><a href=\"#sources\">Sources<\/a><\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"597\" height=\"587\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381673-1334294432.jpg\" alt=\"\" class=\"wp-image-950\" style=\"width:299px;height:294px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381673-1334294432.jpg 597w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381673-1334294432-300x295.jpg 300w\" sizes=\"auto, (max-width: 597px) 100vw, 597px\" \/><figcaption class=\"wp-element-caption\">Isengard, <em>H\u00f8stm\u00f8rke<\/em> (1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"490\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-372973-1274482800.jpg\" alt=\"\" class=\"wp-image-949\" style=\"width:299px;height:294px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-372973-1274482800.jpg 500w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-372973-1274482800-300x294.jpg 300w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption class=\"wp-element-caption\">Ulver, <em>Bergtatt \u2013 Et Eeventyr i 5 Capitler <\/em>(1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p><em>Nordavind<\/em> is perhaps the high point of Norwegian black metal&#8217;s attraction towards national romantic poetry and traditional folk tunes, in a year with several challengers. In 1995, Ulver released <em>Bergtatt \u2013 Et Eeventyr i 5 Capitler<\/em>, the band Wongraven \u2013 fronted by Sigurd Wongraven \u2013 released <em>Fjelltronen<\/em>, and Isengard \u2013 Gylve Fenris Nagell&#8217;s solo project \u2013 released <em>H\u00f8stm\u00f8rke<\/em>. In this context, it is also worth mentioning Darkthrone&#8217;s tribute to Tarjei Vesaas on the last song &laquo;Sn\u00f8 og granskog (Utferd)&raquo; on the album <em>Panzerfaust<\/em>. The Vesaas poem &laquo;Sn\u00f8 og granskog \/ Snow and Spruce Forest&raquo; can be interpreted national romantically, even though it is of a more modernist cast.<\/p>\n\n\n\n<p>Norse ideology, and national romantic lyrics and imagery were of course already an integral part of Norwegian black metal, but the lyrics are most often drawn from their own chest, heavily inspired by folk beliefs, fairy tales and medieval culture in general. The music, in turn, is rarely based on, but only inspired by, folk tunes. On <em>Bergtatt<\/em>, Ulver not only uses lyrics inspired by the old bergtatt folk belief, written in old Gothic Danish-Norwegian, but uses many stylistic musical techniques and instruments (mainly flute, acoustic guitar and polyphonic singing) taken from the folk tunes of the late Middle Ages.<\/p>\n\n\n\n<p>Storm and Isengard take the whole thing a musical step further towards the expression of Norwegian folk music, but with an important difference between them. For although Isengard on H\u00f8stm\u00f8rke partly uses texts from famous Norwegian poets, only Storm uses both text and tone from the Norwegian musical folk heritage.<\/p>\n\n\n\n<p>It seems as if this fusion of folk and black metal was something that had to be given vent to in the genre, as a kind of catharsis, a cleansing. In any case, the main players Wongraven and Nagell more or less put this alloy aside in the years after 1995.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"598\" height=\"600\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-411001-1307820954.jpg\" alt=\"\" class=\"wp-image-955\" style=\"width:299px;height:300px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-411001-1307820954.jpg 598w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-411001-1307820954-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-411001-1307820954-150x150.jpg 150w\" sizes=\"auto, (max-width: 598px) 100vw, 598px\" \/><figcaption class=\"wp-element-caption\">Lumsk, <em>\u00c5smund Fr\u00e6gdejevar<\/em> (2003). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"591\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-766314-1344950490-7495.jpg\" alt=\"\" class=\"wp-image-954\" style=\"width:300px;height:296px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-766314-1344950490-7495.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-766314-1344950490-7495-300x296.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Windir, <em>S\u00f3knardalr<\/em> (1997). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The ties between national romantic folk music and black metal were nevertheless so close that other players emerged in the wake of Wongraven and Nagell&#8217;s pioneering work with Norwegian folk tunes. Windir came with <em>S\u00f3knardalr<\/em> in 1997, G\u00e5te with <em>Jygri<\/em> in 2002, Lumsk with <em>\u00c5smund Fr\u00e6gdejevar<\/em>, Glittertind with <em>Evige Asatro<\/em>, and \u00c1smegin with <em>Hin vordende sod &amp; s\u00f8<\/em>, all in 2003, as well as Myrkgrav with <em>Trollskau, skr\u00f8mt and k\u00f8labrenning<\/em> in 2006, to name a few of the Norwegians. None of these mentioned probably lived up to the standard Nagell set for what is good folk metal many years later in the commentary track to <em>H\u00f8stm\u00f8rke<\/em>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Folk metal should in most cases be deleted. I think it&#8217;s a horrible form of music actually. And I might have contributed to that. I might also have contributed to [&#8230;] make decent folk metal songs that aren&#8217;t spastic and merry and all that junk that came later on in the nineties.<\/p>\n<cite><em>Isengard (1995), commentary track for \u00abOver de syngende \u00f8de moer\u00bb.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Nagell&#8217;s statements fit well with the standard he and Wongraven also set for what is real folk metal in the booklet that is part of the cover of <em>Nordavind<\/em>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Storm was created by S. Wongraven because of his love for Norway and a hunger for playing folksongs [sic.] from his own shores. Nagell joined him and together the melted the music style they are used to with old folksongs [sic.]. Right before \u201cNordavind\u201d was finished Wongraven found Kari Ruesl\u00e5tten and she he [sic.] had the same feeling for this as they had and she joined. Mixing this [sic.] styles has never been done before in this way, and it can not be done either if it does not come straight from your heart. The musical performances on &laquo;Nordavind&raquo; comes straight from the heart and and [sic.] there is a lot of feeling in it from the artists side. It was meant to turn out exactly the way it did. &laquo;Nordavind&raquo; is Storm&#8217;s hymn to Norway and must be looked upon in that way. As probably many of you know, all the members have their own bands but will still continue with their crusade for Norway through Storm. The future looks Norse.<\/p>\n<cite><em>Storm (1995), p. 5 in the CD booklet.<\/em><\/cite><\/blockquote>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"597\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-372795-1373039741-6931.jpg\" alt=\"\" class=\"wp-image-965\" style=\"width:300px;height:299px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-372795-1373039741-6931.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-372795-1373039741-6931-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-372795-1373039741-6931-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Satyricon, <em>Dark Medieval Times<\/em> (1994). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"593\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-4914535-1379275676-7999.jpg\" alt=\"\" class=\"wp-image-966\" style=\"width:300px;height:297px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-4914535-1379275676-7999.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-4914535-1379275676-7999-300x297.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Satyricon, <em>The Shadowthrone<\/em> (1994). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The requirement for real folk metal is that it comes from the heart. Just like black metal itself. It has to be true, as in true Norwegian black metal. There are several interesting aspects to this text that was also used as a promotional text and press release at the launch of Nordavind in February 1995. I will get into this a little later.<\/p>\n\n\n\n<p>That both Wongraven and Nagell had a strong interest in folk music at this time is evident, also in the releases leading up to Nordavind. It is noticeable that Wongraven in Satyricon uses folk tunes as inspiration both on his debut <em>Dark Medieval Times<\/em> and on his sequel <em>The Shadowthrone<\/em>, both from 1994.<\/p>\n\n\n\n<p>Nagell also seems inspired by folk music in his work with Darkthrone, but mostly lyrically on the second and third releases <em>Under a Funeral Moon<\/em> (1993) and <em>Transilvanian Hunger<\/em> (1994), and more lyrically and musically on <em>Panzerfaust<\/em> (1995) as previously mentioned. After this, the folk music seems to diminish somewhat for both Satyricon and Darkthrone with the releases <em>Nemesis Divina<\/em> (1996) and <em>Total Death<\/em> (1996), respectively, although &laquo;Ravnajuv&raquo; would be included on the national romantic compilation release <em>Crusade from the North<\/em> (1996) as we will see later.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"600\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-379857-1358252744-5461.jpg\" alt=\"\" class=\"wp-image-962\" style=\"width:300px;height:300px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-379857-1358252744-5461.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-379857-1358252744-5461-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-379857-1358252744-5461-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Darkthrone, <em>Total Death <\/em>(1996). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"593\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381946-1272836464.jpg\" alt=\"\" class=\"wp-image-957\" style=\"width:300px;height:297px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381946-1272836464.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381946-1272836464-300x297.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Isengard, <em>Vinterskugge<\/em> (1994). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>Both Wongraven and Nagell usually channeled their interest in folk music into other projects, outside their main band, including outside their joint project Storm.<\/p>\n\n\n\n<p>Through the three demos <em>Spectres over Gorgoroth<\/em> (1989), <em>Horizons<\/em> (1991) and <em>Vandreren<\/em> (1993) which together constitute Isengard&#8217;s first release, the compilation <em>Vinterskugge<\/em> from 1994, we see Nagell&#8217;s development from rough black metal with metal riffs to more folk-influenced songs such as the instrumental &laquo;Fanden lokker til stupet&raquo; which is based on a traditional song.<\/p>\n\n\n\n<p>Also in the side project D\u00f8dheimsgard, where Nagell plays bass on the first release <em>Kronet til Konge<\/em> (1995),<sup data-fn=\"19147776-53a3-4ef7-9923-bc86804aeccd\" class=\"fn\"><a href=\"#19147776-53a3-4ef7-9923-bc86804aeccd\" id=\"19147776-53a3-4ef7-9923-bc86804aeccd-link\">3<\/a><\/sup> the folk tones appear in the intro to the song &laquo;Midnattskogens Sorte Kjerne&raquo;. Here Nagell also does a vocal that is very similar to the chanting and pure vocal style he uses on <em>H\u00f8stm\u00f8rke<\/em>, on <em>Nordavind<\/em>, and on &laquo;Sn\u00f8 og granskog (Utferd)&raquo; on <em>Panzerfaust<\/em>. We also hear a very virtuoso bass playing especially on this song, probably inspired by the same thing that he himself says inspired him on <em>H\u00f8stm\u00f8rke<\/em>, especially on the song &laquo;Over de syngende \u00f8de moer&raquo;, namely bassist Gary Thain&#8217;s playing on Uriah Heep&#8217;s album Sweet Freedom from 1973 (Uriah Heep, 1973).<sup data-fn=\"92138d0d-9992-4c1a-b27e-3107a0ba72e5\" class=\"fn\"><a href=\"#92138d0d-9992-4c1a-b27e-3107a0ba72e5\" id=\"92138d0d-9992-4c1a-b27e-3107a0ba72e5-link\">4<\/a><\/sup><\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"601\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1918693-1556643574-1264.jpg\" alt=\"\" class=\"wp-image-945\" style=\"width:300px;height:301px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1918693-1556643574-1264.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1918693-1556643574-1264-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1918693-1556643574-1264-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Uriah Heep, <em>Sweet Freedom<\/em> (1973). Foto. Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"600\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-367873-1512036406-3943.jpg\" alt=\"\" class=\"wp-image-944\" style=\"width:300px;height:300px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-367873-1512036406-3943.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-367873-1512036406-3943-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-367873-1512036406-3943-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">D\u00f8dheinsgard, <em>Kronet til Konge<\/em> (1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>We also see an emerging experimentation with synthesizers at this time. On <em>Vinterskugge<\/em> it is used on the instrumental songs &laquo;In the Halls and Chambers of Stardust the Crystallic Heavens Open&raquo; and &laquo;Bergtrollets Gravferd&raquo;. On Isengard&#8217;s second release <em>H\u00f8stm\u00f8rke<\/em>, the synthesizer is only used on the instrumental song &laquo;I ei Gran borti Nordre \u00c5sen&raquo;. It is unclear who plays the synthesizer on &laquo;Intro&raquo; and &laquo;Outro&raquo; on D\u00f8dheimsgard&#8217;s <em>Kronet til Konge<\/em>, but neither Bj\u00f8rn &laquo;Aldrahn&raquo; Dencker nor Yusaf &laquo;Vicotnik&raquo; Parvez are listed on any releases as having contributed on keyboards. It is therefore likely that it is Nagell who plays the synthesizer on <em>Kronet til Konge<\/em>.<\/p>\n\n\n\n<p>For Nagell, the use of synthesizers reached its peak on the two releases <em>Caravans to Empire Algol<\/em> (1994) and <em>Transmissions from Empire Algol<\/em> (1995) with the dark ambient solo project Neptune Towers, released on Moonfog Productions, Sigurd Wongraven&#8217;s record label.<sup data-fn=\"6d0fa8d9-b8fc-46c4-9c05-1e215b5f9813\" class=\"fn\"><a href=\"#6d0fa8d9-b8fc-46c4-9c05-1e215b5f9813\" id=\"6d0fa8d9-b8fc-46c4-9c05-1e215b5f9813-link\">5<\/a><\/sup> In Darkthrone, synthesizers were not used until the previously mentioned song &laquo;Sn\u00f8 og granskog (Utferd)&raquo; from <em>Panzerfaust<\/em> (1995). Since then, synthesizers have not been used on any Darkthrone release until the song &laquo;Lost Arcane City of Upp\u00e5kra&raquo; as the fifth and final song on <em>Eternal Hails\u2026\u2026<\/em> (2021).<sup data-fn=\"aa1fbd79-eb3c-4bd3-8b6c-569a45a07508\" class=\"fn\"><a href=\"#aa1fbd79-eb3c-4bd3-8b6c-569a45a07508\" id=\"aa1fbd79-eb3c-4bd3-8b6c-569a45a07508-link\">6<\/a><\/sup> There, Nagell uses a Moog synthesizer.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"597\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-231484-1228578019.jpg\" alt=\"\" class=\"wp-image-938\" style=\"width:300px;height:299px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-231484-1228578019.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-231484-1228578019-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-231484-1228578019-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Neptune Towers, <em>Transmissions from Empire Algol<\/em> (1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"597\" height=\"600\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-264347-1351034631-8802.jpg\" alt=\"\" class=\"wp-image-936\" style=\"width:299px;height:300px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-264347-1351034631-8802.jpg 597w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-264347-1351034631-8802-150x150.jpg 150w\" sizes=\"auto, (max-width: 597px) 100vw, 597px\" \/><figcaption class=\"wp-element-caption\">Neptune Towers, <em>Caravans to Empire Algol<\/em> (1994). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>At the same time, Wongraven also explores the synthesizer and releases the album <em>Fjelltronen<\/em> (1995) with the supergroup Wongraven on his own label Moonfog. Wongraven also consisted of Vegard Sverre &laquo;Ihsahn&raquo; Tveitan from Emperor and percussionist Hans-Kristian Kjos S\u00f8rensen. Dark ambient or dungeon synth is something Tveitan&#8217;s Emperor partner H\u00e5vard &laquo;Mortiis&raquo; Ellefsen made his preferred expression from his debut release <em>Born to Rule<\/em> from 1994 and to this day.<\/p>\n\n\n\n<p>Synthesizer is also used on <em>Nordavind<\/em>, but is only audible on &laquo;Innferd&raquo; and &laquo;Utferd&raquo;, the two short instrumental songs that start and end the album. It is Wongraven who treats the synthesizer on <em>Nordavind<\/em>. It seems as if both Wongraven and Nagell believe that the synthesizer has more to do as an instrument that sets the mood in the more dreamy and calm musical sequences than in the folk tunes themselves. Either as independent intro and outro songs, or as intro, outro or bridges in other songs.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1515491-1290557496.jpg\" alt=\"\" class=\"wp-image-960\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1515491-1290557496.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1515491-1290557496-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><figcaption class=\"wp-element-caption\">Mortiis, <em>F\u00f8dt til \u00e5 herske<\/em> (1994). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"595\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-231482-1333555685.jpg\" alt=\"\" class=\"wp-image-947\" style=\"width:300px;height:298px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-231482-1333555685.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-231482-1333555685-300x298.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-231482-1333555685-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Wongraven, <em>Fjelltronen<\/em> (1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"the-controversy\">The controversy<\/h2>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"592\" height=\"598\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/kvalm_nasjonalromantikk.png\" alt=\"\" class=\"wp-image-934\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/kvalm_nasjonalromantikk.png 592w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/kvalm_nasjonalromantikk-297x300.png 297w\" sizes=\"auto, (max-width: 592px) 100vw, 592px\" \/><figcaption class=\"wp-element-caption\">Puls (1995), no. 7, p. 9.<\/figcaption><\/figure>\n\n\n\n<p>\u00abKvalm \u201cnasjonalromantikk\u201d\u00bb (Nauseating &#8216;national romanticism&#8217;) was what the music newspaper Puls called <em>Nordavind<\/em> when it came out in February 1995, and quotes the press release that is identical to what is printed on the booklet for the release, and which I quoted above:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The record company&#8217;s press release describes the project in the following nationalistic way: \u201cStorm was born from Wongraven&#8217;s mind due to a strong national feeling and an eager hunger to play folk tunes from his proud homeland\u2026 All musical performances are done with full deliberation\u2026 \u2018Nordavidn\u2019 is national romanticism of the highest degree, that is, a tribute to Norway. It must not be confused with anything else. As many probably know, all three members of Storm have their own groups, but will still continue to deliver this type of music to ignite the national glow in their hearts. The future looks Norwegian!\u201d<\/p>\n<cite><em>Puls (1995), nr. 7, p. 9. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Puls rounds off the note with the following laconic remark:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>We can say that not all three members in the future seem to want to \u201cdeliver this type of music to ignite the national glow\u201d\u2026<\/p>\n<cite><em>Puls (1995), nr. 7, p. 9.<\/em><\/cite><\/blockquote>\n\n\n\n<p>So it is Storm&#8217;s third member Kari Ruesl\u00e5tten who, according to this notice, will no longer be a part of the band, and who created one of many controversies in the Norwegian black metal scene in the 1990s. But before we delve deeper into this spicy matter, I will say a little about the music newspaper Puls&#8217; relationship with black metal.<\/p>\n\n\n\n<p>Black metal had a pretty bad reputation in the otherwise solid music magazine. Puls&#8217; hard rock oracle Thor-Rune Haugen is not kind when he discusses death and speed metal in the article &laquo;Speed metal under lupen&raquo; (Speed \u200b\u200bmetal under the magnifying glass) from 1987.<sup data-fn=\"32d884fa-0a68-40ea-864d-5ee8cc12bc17\" class=\"fn\"><a href=\"#32d884fa-0a68-40ea-864d-5ee8cc12bc17\" id=\"32d884fa-0a68-40ea-864d-5ee8cc12bc17-link\">7<\/a><\/sup> He thinks Venom should have been a parody band, and he &laquo;laughs at them 10 times as much as at Bad News and Spinal Tap combined&raquo;.<\/p>\n\n\n\n<figure class=\"wp-block-image alignfull size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"739\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-13.53.04-1024x739.png\" alt=\"\" class=\"wp-image-969\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-13.53.04-1024x739.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-13.53.04-300x217.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-13.53.04-768x555.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-13.53.04-1536x1109.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-13.53.04-2048x1479.png 2048w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-13.53.04-1200x867.png 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Puls (1987), nr. 12, desember 1987, s. 46\u201347.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"450\" height=\"449\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1654545-1299508191.jpg\" alt=\"\" class=\"wp-image-973\" style=\"width:300px;height:298px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1654545-1299508191.jpg 450w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1654545-1299508191-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1654545-1299508191-150x150.jpg 150w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\">Venom, <em>Die Hard<\/em> [Singel] (1983). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"600\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-805174-1364285537-7290.jpg\" alt=\"\" class=\"wp-image-975\" style=\"width:300px;height:300px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-805174-1364285537-7290.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-805174-1364285537-7290-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-805174-1364285537-7290-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Mayhem, <em>Deathcrush<\/em> (1987). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The first time he put on the single <em>Die Hard<\/em> (Venom, 1983), he writes that he laughed until he peed himself: &laquo;A mess of mushy guitars and a voice that sounded like Joe Cocker about to be strangled by a three-meter python.&raquo;<\/p>\n\n\n\n<p>Regarding Mayhem and their debut release <em>Deathcrush<\/em> (1987), which he claims to like quite a bit because they &laquo;are so over the top&raquo;, he asks them to get in touch so they can &laquo;tell me what speed this should be played at&raquo;. He eventually finds out that 33 rpm is the most likely speed to play the record at, but even at that speed &laquo;it sounded a bit like Nancy Reagan about to be fingered by Captain Hook&raquo;.<sup data-fn=\"7e7635d5-8efa-414e-90e5-fadff404cafa\" class=\"fn\"><a href=\"#7e7635d5-8efa-414e-90e5-fadff404cafa\" id=\"7e7635d5-8efa-414e-90e5-fadff404cafa-link\">8<\/a><\/sup><\/p>\n\n\n\n<p>&laquo;Black metal&raquo; is mentioned only 38 times in the lifetime of the newspaper Puls, from 1978\u20131996, and then mostly in notices and a few reviews. It is a bit strange when this phenomenon that was to become worldwide happened right outside the windows of the editorial office of Norway&#8217;s most distinguished music magazine at the time. I would call it a sin of omission. The most that was ever written about black metal in Puls was the case of Kari Ruesl\u00e5tten&#8217;s showdown with the other two in Storm, Sigurd Wongraven and Gylve Fenris Nagell, in the spring of 1995. This case received two large spreads, as well as two notices.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"rueslatten-regrets\">Ruesl\u00e5tten regrets<\/h3>\n\n\n\n<p>The first story was published in issue no. 7, which covers the week from February 24 to March 3, 1995. Under the pun-like headline &laquo;Storm rundt &#8216;Nordavind'&raquo; (Storm around &#8216;Nordavind&#8217;), a heartbroken Ruesl\u00e5tten regrets that she has participated in the Storm album Nordavind which, according to Puls, &laquo;awakens nationalist associations&raquo;. Puls (1995), issue no. 7, p. 9. Ruesl\u00e5tten is afraid that her planned solo project after her recent departure as vocalist in The 3rd and the Mortal will be ruined.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"951\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_rundt_nordavind-1024x951.png\" alt=\"\" class=\"wp-image-978\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_rundt_nordavind-1024x951.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_rundt_nordavind-300x279.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_rundt_nordavind-768x713.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_rundt_nordavind.png 1177w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Puls (1995), no. 7, p. 9.<\/figcaption><\/figure>\n\n\n\n<p>She tells the music magazine:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>I made sure in advance that this album would not contain any extreme lyrics, but then they improvised a new ending to &laquo;Oppi fjellet&raquo; in the studio afterwards[.] [\u2026] I reacted strongly when I heard they had changed the lyrics, but unfortunately I was not strong enough to say no. Now I just want people to forget about it. I feel completely devastated, feel like I have lost everything. But people have to accept that I have made a mistake, and see me as the person I am, as the artist I am.<\/p>\n<cite><em>Puls (1995), no. 7, p. 9. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>The magazine, with journalist Mode Steinkjer behind the pen, further writes about &laquo;Oppi fjellet&raquo; that:<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1452\" height=\"2048\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n.jpg\" alt=\"\" class=\"wp-image-1174\" style=\"width:300px;height:451px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n.jpg 1452w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-213x300.jpg 213w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-726x1024.jpg 726w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-768x1083.jpg 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-1089x1536.jpg 1089w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-1200x1693.jpg 1200w\" sizes=\"auto, (max-width: 1452px) 100vw, 1452px\" \/><figcaption class=\"wp-element-caption\">Nordic Vision, 1995(3).<\/figcaption><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The text contains, among other things, the nationalistically charged stanza; \u201c&#8230;en grusom d\u00f8d til hver en mann \/ som ikke hyller v\u00e5rt faderland\u201d (\u2026a cruel death to every man\/who does not pay homage to our fatherland) and \u201c&#8230; om du noengang lukter kristenmanns blod \/ oppi fjellet oppi fjellet \/ s\u00e5 hent \u00f8ksa og hugg dem ned \/ oppi fjellet oppi fjellet\u201d (\u2026 if you ever smell the blood of a Christian \/ up the mountain on the mountain \/ then take the axe and chop them down \/ up the mountain on the mountain).<\/p>\n<cite><em>Puls (1995), no. 7, p. 9. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>I mars samme \u00e5r kom Sigurd Wongraven med et tilsvar til Puls og Mode Steinkjer i den norske svartmetall-fanzina Nordic Vision. P\u00e5 sp\u00f8rsm\u00e5l om hvordan reaksjonene p\u00e5 utgivelsen <em>Nordavind<\/em> har v\u00e6rt i Norge sier Wongraven:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 The reactions have been very good, and we have got a lot of press coverage. The lefties do of course hate us since we hail our nation. Storm is intelligent, grim music for intelligent Norwegian citizens and everybody else who has some interest in Norway and this type of music. If we were a bit more simplistic and pathetic I guess the rock scene in Trondheim would love us, hah!<\/p>\n<cite><em>Nordic Vision, 1995(3). See: <a href=\"https:\/\/members.tripod.com\/black_metal\/satyricon\/storm.html\">https:\/\/members.tripod.com\/black_metal\/satyricon\/storm.html<\/a>.<\/em><\/cite><\/blockquote>\n\n\n\n<p>When asked how the release has been received by the Norwegian press, he says:<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"286\" height=\"416\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-14.50.56.png\" alt=\"\" class=\"wp-image-980\" style=\"width:295px;height:auto\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-14.50.56.png 286w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-28-kl.-14.50.56-206x300.png 206w\" sizes=\"auto, (max-width: 286px) 100vw, 286px\" \/><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013It&#8217;s a bit early to say anything. The 3rd and the mortal fan from the Norwegian christian music paper &laquo;Puls&raquo; (ko)Mode Steinkjer has attempted to drag me and Fenriz down in the mud. If I become dictator in Norway one misty morning, people like him will be the first to die.<\/p>\n<cite><em>Nordic Vision, 1995(3).<\/em><\/cite><\/blockquote>\n\n\n\n<p>This death threat is referred to in a notice in Puls no. 14, week of May 26 to June 9, 1995, on page 10.<\/p>\n\n\n\n<p>But before this notice appears in Puls, the matter is followed up further by Mode Steinkjer in the issue after Kari Ruesl\u00e5tten came forward as repentant, i.e. in Puls no. 8, 3rd to 10th March 1995. And this time Wongraven launches a weak counterattack. Storm (with Wongraven as spokesperson) repents too!<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"wongraven-regrets\">Wongraven regrets<\/h3>\n\n\n\n<p>Wongraven is incomprehensible that Kari Ruesl\u00e5tten could sing on an album and spend three months on a collaboration without knowing what the lyrics are about.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-large wp-duotone-unset-1\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"553\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_angrer-1024x553.png\" alt=\"\" class=\"wp-image-983\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_angrer-1024x553.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_angrer-300x162.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_angrer-768x415.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/storm_angrer.png 1179w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Puls (1995), no. 8, p. 7.<\/figcaption><\/figure>\n\n\n\n<p>When asked if he understands that Storm can be perceived as nationalistic, Wongraven replies:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 I understand it now, but I regret that I portrayed it in such a way[.] [\u2026] \u2013 I took the Norwegian cultural heritage as my starting point, and wanted to dress it in a metal suit. Just because Nazis and racists misuse the Norwegian flag and Norse symbols, that doesn&#8217;t mean it shouldn&#8217;t be allowed to use these symbols. Norway belongs to people who love Norway and Norwegian nature, says Wongraven.<\/p>\n<cite><em>Puls (1995), no. 8, p. 7. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>It should be said that Wongraven&#8217;s defense of his own portrayal on Nordavind following this key sentence, as well as the response to Mode Steinkjer in the fanzine Nordic Visions probably following this interview, indicate that he does <strong>not regret<\/strong> how he portrayed his own national sentiment on the Storm release.<\/p>\n\n\n\n<p>In a brief moment in the interview, when he is asked what Storm means by the lyrics &laquo;En grusom d\u00f8d til hver mann \/ som ikke hyller v\u00e5rt faderland&raquo; (A cruel death to every man \/ who does not pay homage to our fatherland) and &laquo;Om du noengang lukter kristenmanns blod \/ oppi fjellet oppi fjellet \/ s\u00e5 hent \u00f8ksa og hugg dem ned&raquo; (If you ever smell Christian blood \/ up in the mountains \/ then pick up the axe and chop them down), Wongraven first responds apologetically by saying that it was Nagell who wrote the lyrics, but then pulls himself together from unequivocally shifting the blame onto his partner by saying:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>It is an extreme way of expression, which I have amplified vocally. It is a showdown against the Christians. Against the state racism that Christianity is. The only reason we have Christianity in Norway is that Christianity raised it. Norway is originally a pagan country, our roots are 100% pure pagan. Christianity has nothing to do with Norway. Christians pay homage to Israel. Norway is a Viking country.<\/p>\n<cite><em>Puls (1995), no. 8, p. 7. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Here, Mode Steinkjer is such an experienced journalist that he does not let the invitation to reflect on the Israel issue go unused. He asks if that means that Israel is less valuable than Norway, and Wongraven replies:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 Yes, that&#8217;s my personal opinion. Israel is worth less than Norway. It&#8217;s a typical Christian country.<\/p>\n<cite><em>Puls (1995), no. 8, p. 7. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>But to the follow-up question from Steinkjer about whether Wongraven believes that people from Israel are worth less than people from Norway, Wongraven wisely answers:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 No! You can&#8217;t let it affect the people who live there. They are worth just as much as people in Norway.<\/p>\n<cite><em>Puls (1995), no. 8, p. 7. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"fenriz-enters-the-scene\">Fenriz enters the scene<\/h3>\n\n\n\n<p>The following week, in Puls no. 9, Gylve Fenris Nagell enters the scene. And he does so with a double page spread. That is, one and a half times as large a spread as Wongraven received. Nagell is fed up with being labeled a racist and wants to speak out in what is his first public interview in three years. Again, it is Mode Steinkjer who writes the whole thing.<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"599\" height=\"589\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-399861-1517936996-9690.jpg\" alt=\"\" class=\"wp-image-989\" style=\"width:300px;height:295px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-399861-1517936996-9690.jpg 599w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-399861-1517936996-9690-300x295.jpg 300w\" sizes=\"auto, (max-width: 599px) 100vw, 599px\" \/><figcaption class=\"wp-element-caption\">Darkthrone, <em>Transilvanian Hunger<\/em> (1994). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>Here it may be worth recalling two things that probably explain Nagell&#8217;s absence from the public eye during these three years. Firstly, there were many in the black metal community who were low-key both during and after the legal proceedings from 1993 onwards. These ended, among other things, with former Mayhem bassist and sole member of the one-man band Burzum, Varg &laquo;Greven&raquo; Vikernes being sentenced to 21 years in prison for the murder of Mayhem colleague \u00d8ystein &laquo;Euronymous&raquo; Aarseth, attempted arson at Storetveit Church in Bergen and for several other minor offenses. Secondly, there had been a great uproar with the subsequent racist and Nazi label on Darkthrone after controversial statements on and in the wake of the release <em>Transilvanian Hunger<\/em> in 1994. So let&#8217;s take a look at this last issue before we move on.<\/p>\n\n\n\n<p>On the first edition of Transilvanian Hunger, on the back of the cover, in large text in Gothic letters at the very top, it says &laquo;True Norwegian Black Metal&raquo;. Below the list of songs in two columns (A and B sides), it says &laquo;Norsk Arisk Black Metal&raquo; (Norwegian Aryan Black Metal) in equally large Gothic letters. Directly below in smaller text it says &laquo;Darkthrone \/ Is For All \/ The Evil \/ In Man&raquo;.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"462\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-399861-1171486776.gif.jpg\" alt=\"\" class=\"wp-image-991\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-399861-1171486776.gif.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-399861-1171486776.gif-300x231.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Darkthrone, <em>Transilvanian Hunger<\/em> (1994). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>After negative reception and pressure from distributors, &laquo;Norsk Arisk Black Metal&raquo; (Norwegian Aryan Black Metal) was removed from later releases of <em>Transilvanian Hunger<\/em>. However, Nagell also wanted to include another controversial statement on the cover:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>We would like to state that Transilvanian Hunger stands beyond any criticism. If any man should attempt to criticize this LP, he should be thoroughly patronized for his obviously jewish behaviour.<\/p>\n<cite><em>The press release is reprinted in Moynihan &amp; S\u00f8derlind (1998\/2003), p. 350.<\/em><\/cite><\/blockquote>\n\n\n\n<p>This caused a stir for Peaceville Records and its manager Paul &laquo;Hammy&raquo; Halmshaw. In a press release \u2013 which also included Nagell&#8217;s demands \u2013 Peaceville made it clear that they did not want to censor the release, but at the same time refused to promote it.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"840\" height=\"1024\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-05-kl.-16.29.42-840x1024.png\" alt=\"\" class=\"wp-image-1228\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-05-kl.-16.29.42-840x1024.png 840w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-05-kl.-16.29.42-246x300.png 246w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-05-kl.-16.29.42-768x936.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-05-kl.-16.29.42.png 950w\" sizes=\"auto, (max-width: 840px) 100vw, 840px\" \/><figcaption class=\"wp-element-caption\">Moynihan &amp; S\u00f8derlind (1998\/2003), p. 350.<\/figcaption><\/figure>\n\n\n\n<p>Darkthrone then issued an official apology, claiming that the use of the word &laquo;jew&raquo; was intended as slang for &laquo;idiotic.&raquo; In some circles at the time, and possibly even today, the very use of the term &laquo;jew&raquo; is intended as a derogatory term, something that is foolish, and doesn&#8217;t necessarily carry any of the old connotations that led to the Holocaust. But it&#8217;s obviously not right to use such a heavily loaded word in a derogatory way in an official statement.<\/p>\n\n\n\n<p>In addition, the press release states that the person who used the word \u201cjew\u201d, i.e. Nagell, does not read newspapers or watch television news and therefore \u201chad no idea of \u200b\u200bthe [racism] situation in the rest of Europe\u201d and therefore \u201ccouldn\u2019t have had any idea that the word \u2018Jew\u2019 would offend anyone\u201d. Well, that\u2019s a thin excuse.<\/p>\n\n\n\n<p>Sources refer to different events in this story. Moynihan &amp; S\u00f8derlind (1998\/2003, pp. 350\u2013351) print facsimiles of both the Peaceville press release and the subsequent one from Darkthrone, but claim that \u201cno one seemed to take much notice of [\u2026] that the album in question still featured the words &#8216;NORWEGIAN ARYAN BLACK METAL&#8217; prominently printed across the sleeve\u201d. This means that they do not interpret the inscription as the start of the controversy, but rather \u2013 as the Peaceville press release might suggest \u2013 use the statement that \u201cobviously Jewish behaviour\u201d was the start of the controversy. I have used Peaceville\u2019s own explanation of the incident, and they are clear that it was \u201cAryan\u201d and not \u201cJewish\u201d that started the incident.<sup data-fn=\"ac744b1b-bc5b-4945-9fd2-0e22d847a50b\" class=\"fn\"><a href=\"#ac744b1b-bc5b-4945-9fd2-0e22d847a50b\" id=\"ac744b1b-bc5b-4945-9fd2-0e22d847a50b-link\">9<\/a><\/sup><\/p>\n\n\n\n<p>It is still a bit unclear to me whether the determinative &laquo;this statement&raquo; in the sentence &laquo;The drummer insists that <strong>this statement<\/strong> be included on the sleeve of the forthcoming album, &#8216;Transilvanian Hunger'&raquo; refers to the sentence about &laquo;obviously jewish behaviour&raquo; or to the sentence about &laquo;Aryan Black Metal&raquo; (which is not mentioned) in Peaceville&#8217;s press release. It also states that Peaceville boss Hammond is &laquo;complying with that request&raquo;. Whether this means that he allowed the sentence with &laquo;jew&raquo; to be printed in addition to the sentence about &laquo;Aryan&raquo; or whether it just meant that the sentence with &laquo;Aryan&raquo; should be included is unclear. This may be one of the root causes of the different accounts of the events. In any case, it is not correct, as Wikipedia (the English version) claims, that Darkthrone apologized for the use of &laquo;Aryan&raquo; on the release in the press release. They only apologized for the use of the word &laquo;jew&raquo; in the press release that Peaceville referred to.<sup data-fn=\"11e32db2-822c-4be5-8ecc-921782ea869b\" class=\"fn\"><a href=\"#11e32db2-822c-4be5-8ecc-921782ea869b\" id=\"11e32db2-822c-4be5-8ecc-921782ea869b-link\">10<\/a><\/sup><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"632\" height=\"906\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-05-kl.-16.30.12.png\" alt=\"\" class=\"wp-image-1229\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-05-kl.-16.30.12.png 632w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-05-kl.-16.30.12-209x300.png 209w\" sizes=\"auto, (max-width: 632px) 100vw, 632px\" \/><figcaption class=\"wp-element-caption\">Moynihan &amp; S\u00f8derlind (1998\/2003), p. 351.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"596\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194484-2538.jpg\" alt=\"\" class=\"wp-image-1019\" style=\"width:300px;height:298px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194484-2538.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194484-2538-300x298.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194484-2538-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Darkthrone, <em>Panzerfaust<\/em> (1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>Peaceville also did not find Darkthrone&#8217;s apology very convincing. The band then decided they would only work with Norwegian artists and switched to the Norwegian record label Moonfog, co-owned by Sigurd Wongraven.<\/p>\n\n\n\n<p>On their first release on Moonfog, <em>Panzerfaust<\/em>, Darkthrone therefore wrote on the back of the album cover:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>DARKTHRONE IS CERTAINLY NOT A NAZI-BAND NOR A POLITICAL BAND, THOSE OF YOU WHO STILL MIGHT THINK SO, YOU CAN LICK MOTHER MARY&#8217;S ASSHOLE IN ETERNITY.<\/p>\n<cite><em>Darkthrone, Panzerfaust (1995).<\/em><\/cite><\/blockquote>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"596\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194566-7451.jpeg.jpg\" alt=\"\" class=\"wp-image-1021\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194566-7451.jpeg.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194566-7451.jpeg-300x298.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194566-7451.jpeg-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Darkthrone, <em>Panzerfaust<\/em> (1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>Gylve Fenris Nagell has since also been clear that the statements in the controversy with Peaceville do not represent his opinion and has described them as disgusting.<sup data-fn=\"e6e914eb-6163-482b-8341-2f97ab3f4ce4\" class=\"fn\"><a href=\"#e6e914eb-6163-482b-8341-2f97ab3f4ce4\" id=\"e6e914eb-6163-482b-8341-2f97ab3f4ce4-link\">11<\/a><\/sup><\/p>\n\n\n\n<p>Anyway, in March 1995 Nagell is ready to deny the rumors about himself as a racist in the music newspaper Puls. The article promises &laquo;Fenriz i fri flyt&raquo; (Fenriz in free flow), and that is exactly what we get. It is important to remember that humor has and is incredibly important in Nagell&#8217;s life and work, and in this article it is what comes out most clearly. As we have seen, this humor and loose use of words and expressions can be directly damaging to the reputation of Nagell and Darkthrone, but in this article it all turns out more positively for Nagell.<\/p>\n\n\n\n<p>He swings around with statements that he reads the comic magazine Bamse, which he claims the then-deceased vocalist Per Yngve &laquo;Pelle\/Dead&raquo; Ohlin in Mayhem also read with great pleasure. He refers to Saint Olaf as &laquo;Olav den Grelle&raquo; (Olav the Gaudy), and believes that Varg Vikernes&#8217; murder of \u00d8ystein &laquo;Euronymous&raquo; Aarseth &laquo;kom som ekorn(!) fra klar himmel&raquo; (came like a squirrel(!) out of the blue).<\/p>\n\n\n\n<figure class=\"wp-block-image alignfull size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"742\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-26-kl.-14.54.08-1024x742.png\" alt=\"\" class=\"wp-image-1023\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-26-kl.-14.54.08-1024x742.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-26-kl.-14.54.08-300x217.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-26-kl.-14.54.08-768x557.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-26-kl.-14.54.08-1536x1113.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-26-kl.-14.54.08-2048x1485.png 2048w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Skjermbilde-2021-12-26-kl.-14.54.08-1200x870.png 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Puls, nr. 9, 1995, s. 20\u201321.<\/figcaption><\/figure>\n\n\n\n<p>During the interview, Mode Steinkjer touches on the topic of the already quoted statement on the <em>Panzerfaust<\/em> release that Darkthrone is not a Nazi band. Nagell then says the following:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 Yes, and on the new Isengard album I have a little speech that goes like I don&#8217;t give a damn about color or culture as long as people don&#8217;t have Christian values.<\/p>\n<cite><em>Puls, no. 9, 1995, p. 20. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>The surprising thing here is not the opposition to Christianity, of course, but rather that he is said to have given such a speech on the Isengard release <em>H\u00f8stm\u00f8rke<\/em>. At this time, <em>H\u00f8stm\u00f8rke<\/em> had not yet been released. It was first released on July 3, 1995. Is there actually such a message on this release? I will look at that in more detail in an article about <em>H\u00f8stm\u00f8rke<\/em> that will come later.<\/p>\n\n\n\n<p>Nagell makes no further major attempts to deny the rumors about himself as a Nazi, other than pointing out that he has participated in an anti-racist demonstration where he was fined by the police, and that those who point out that he is a racist have never spoken to him. And then he talks about what a searching personality he is:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 Contradictory, constantly changing. The only thing that is constant about me is that I am constantly changing. It&#8217;s okay if people like what I said a couple of months ago, but that doesn&#8217;t mean I have to stand by it. Actually, it&#8217;s completely pointless to interview me at all! The only thing that matters is humor. I am completely obsessed with humor.<\/p>\n<cite><em>Puls, no. 9, 1995, p. 21. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Let&#8217;s get back to Storm and the controversy with the added lyrics on Nordavind. In particular, it is the text that was added at the end of &laquo;Oppi fjellet&raquo; that has been hard to swallow for Kari Ruesl\u00e5tten and for the common people. Mode Steinkjer cites \u2013 in line with Wongraven \u2013 Nagell as the originator of the phrase &laquo;D\u00f8d til hver en mann \/ som ikke hyller v\u00e5rt faderland&raquo; (Death to every man \/ who does not pay homage to our fatherland). Nagell comments:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 I was drunk, but I can&#8217;t blame myself for that either. I don&#8217;t think death should await everyone who doesn&#8217;t pay tribute to Norway. I don&#8217;t remember why I took it all out. It couldn&#8217;t possibly have been to please anyone. I later had heated discussions with Satyr, but I still don&#8217;t remember a damn thing about that evening. It might have something to do with me wanting to strengthen national sentiment, you can get carried away. Like now, when we were on holiday in Otta, Tyr [Satyr, sic.]. It&#8217;s so strong, so far out to just walk around for three hours in the mountains and scream out to get an echo back \u2013 which isn&#8217;t digital!<\/p>\n<cite><em>Puls, no. 9, 1995, p. 21. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>This is an interesting statement. First, it points to the trip to Otta and Pillarguritoppen that resulted in photographs of Nagell that were used both on the booklet of Storms <em>Nordavind<\/em>, but also as the cover of Isengards <em>H\u00f8stm\u00f8rke<\/em>. More on this later. Second, and of greater importance, is how Nagell roots the national feeling in close contact with nature and the mountains, and how such a transcendent and intoxicating experience can help to provide such a strong expression of a love of nature and a subsequent national feeling. We know that even at this time Nagell was concerned with being in nature.<\/p>\n\n\n\n<p>Nagell says later in the interview, which reinforces the understanding of black metal as a retrospective and national-romantic movement, that through his new meditative space synth project he is attempting to recreate the soundscape of the fifties and the overwhelming feeling of grandeur that people in the Neolithic era got by looking up at the starry sky without modern scientific concepts to understand what they were actually seeing.<\/p>\n\n\n\n<p>When asked by Mode Steinkjer if he was born a few thousand years too late, Nagell replies:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Well. I feel very comfortable here now. [\u2026] But since you mention this thing about a few thousand years ago \u2013 it would have been fun to live in that time and trip up Jesus.<\/p>\n<cite><em>Puls, no. 9, 1995, p. 21. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>After this little kick in the pants against Christianity, we have laid the foundation for what is to come, namely an analysis of <em>Nordavind<\/em> with a focus on lyrics and melody. In particular, we will delve into the question that was the starting point for me to start dealing with the Storm release in the first place: <em>Nordavind<\/em> is based on Norwegian folk tunes. Which are these, and in what way do they differ lyrically and musically in Storm&#8217;s versions?<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"on-nordavind\">On <em>Nordavind<\/em><\/h2>\n\n\n\n<p>Let&#8217;s \u2013 before we get into the lyrics \u2013 look at how Storms <em>Nordavind<\/em> came about.<\/p>\n\n\n\n<p>The release was recorded at Waterfall Studios in November 1994. The running time is 33 minutes and 20 seconds. It was produced by Sigurd &laquo;Satyr&raquo; Wongraven, and the engineer is Kenneth Moen.<sup data-fn=\"77b20a94-2584-46e4-a98d-af919fcc4bed\" class=\"fn\"><a href=\"#77b20a94-2584-46e4-a98d-af919fcc4bed\" id=\"77b20a94-2584-46e4-a98d-af919fcc4bed-link\">12<\/a><\/sup> The album was released in February 1995 on CD and LP, on Moonfog Productions.<sup data-fn=\"40a1705e-db84-403e-9311-5a87569f8551\" class=\"fn\"><a href=\"#40a1705e-db84-403e-9311-5a87569f8551\" id=\"40a1705e-db84-403e-9311-5a87569f8551-link\">13<\/a><\/sup> I am referring to the CD release when I describe the cover and booklet.<\/p>\n\n\n\n<p>Sigurd &laquo;Satyr&raquo; Wongraven is stated to play all guitars, bass, synth and vocals. &laquo;Herr Nagel&raquo;, as Gylve Fenris Nagell calls himself on this release, is stated to play all percussion, and also vocals. Kari Ruesl\u00e5tten is stated to have vocal contributions, but like Wongraven and Nagell has contributed to the lyrics, or as it says: &laquo;Addisjonell lyrikk av Nagell\/Wongraven\/Ruesl\u00e5tten&raquo; (Additional lyrics by Nagell\/Wongraven\/Ruesl\u00e5tten):<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"572\" height=\"572\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_07.jpg\" alt=\"\" class=\"wp-image-1028\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_07.jpg 572w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_07-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_07-150x150.jpg 150w\" sizes=\"auto, (max-width: 572px) 100vw, 572px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), s. 7 i CD-heftet. Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>&laquo;Wongraven &amp; Nofagem&raquo; are listed as the designers of the cover of Nordavind. <em>Nofagem<\/em> is a fitting renaming of the design firm Megafon for this type of dark assignment. And Nofagem is one of many aliases for designer Halvor Bodin who has done countless cover designs for many Norwegian releases. Under the alias Nofagem he has also done Wongraven&#8217;s <em>Fjelltronen<\/em>, Isengard&#8217;s <em>H\u00f8stm\u00f8rke<\/em>, Darkthrone&#8217;s <em>Panzerfaust<\/em>, and Satyricon&#8217;s <em>The Shadowthrone<\/em>, all published by Moonfog Productions in 1995.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"594\" height=\"583\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg\" alt=\"\" class=\"wp-image-1030\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg 594w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01-300x294.jpg 300w\" sizes=\"auto, (max-width: 594px) 100vw, 594px\" \/><figcaption class=\"wp-element-caption\">Storm, Nordavind (1995), forsiden, s. 1 i CD-heftet. Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The front cover of Nordavind shows the highest peaks of a snow-covered alpine mountain at night with a large, almost full moon behind. The blue tones are turned up a lot and the cover appears to be mainly dark blue and purple with a distinct white-yellow moon. The mountain in the photograph is Geitgaljartinden, which is also stated in the credits on the Nordavind booklet. The mountain is located in the Trolltind massif at the very end of the Austnesfjord on Austv\u00e5g\u00f8y, and rises 1084 meters above sea level. The Trolltind massif contains many of the highest mountains in Lofoten. The neighboring mountain to Geitgaljartinden is Higravstind (1146 m), which is Lofoten&#8217;s highest peak. Geitgaljartinden is considered the best mountain for hiking in Lofoten.<\/p>\n\n\n\n<p>The photographer of Geitgaljartinden is also credited in the booklet of Nordavind, and is photographer Kjell Ove Storvik. He grew up and still lives in Lofoten. In his career, he has been on many expeditions as a photographer, including with B\u00f8rge Ousland in Antarctica.<\/p>\n\n\n\n<p>I contact Storvik, and we have a very pleasant email exchange. When I ask him if he knew that his picture was used on a Norwegian black metal release, he answers the following:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>I&#8217;ve never heard of this band, have no idea who they are or where they belong. I also don&#8217;t remember selling a picture to them. Now it should be said that in the years 1993\u20131997 I spent a lot of time in Antarctica and South America, Canada, Siberia and other places far from home. So it may have been that others in the family have arranged this.<\/p>\n\n\n\n<p>The picture, and several similar ones, have been used in brochures, as far as I remember for, among other things, Nyv\u00e5gar Rorbuhotell sometime around 1990. The brochure was printed in Troms\u00f8. I believe the person who ordered the picture was Sverri Dahl, (his father was from the Faroe Islands) who previously lived in Svolv\u00e6r and played in a band here. There may be a connection there, but \u2026 \ud83d\ude42<\/p>\n<cite><em>Email from Kjell Ove Storvik, December 25, 2021. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Cover designer Halvor Bodin assures me that the photograph was paid for. He writes:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>I don&#8217;t remember the details, but Moonfog definitely paid straight for the use and it was a proper high-resolution scan. Whether it came from a photo agency I don&#8217;t remember. We also wrote full credits and an explanation of where it was on the cover[.]<\/p>\n<cite><em>Email from Halvor Bodin, December 28, 2021. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Til h\u00f8yre p\u00e5 forsiden av omslaget st\u00e5r det \u00abSTORM\u00bb i versaler, i en gotisk utseende skrifttype som designer Bodin informerer meg om p\u00e5 mitt sp\u00f8rsm\u00e5l:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The font in STORM is called San Marco Roman (a slightly calligraphic Blackletter font from Linotype), not custom. Designed by the now deceased calligrapher and typographer Karlgeorg Hoefer.<\/p>\n<cite><em>Email from Halvor Bodin, December 28, 2021. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Under the Storm logo, it says &laquo;Nordavind&raquo; in a more modern and simple serif font. Halvor Bodin informs me which font it is in a later email:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The name of the second font is\u00a0Pabst, designed by Frederic Goudy in 1902.<sup data-fn=\"409ffbd9-57bf-434e-8640-4886b61f6f21\" class=\"fn\"><a href=\"#409ffbd9-57bf-434e-8640-4886b61f6f21\" id=\"409ffbd9-57bf-434e-8640-4886b61f6f21-link\">14<\/a><\/sup><\/p>\n<cite><em>Email from Halvor Bodin, February 4, 2022. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>On the penultimate page of the booklet, after the list of credits that I just reviewed, it says:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Storm er ikke et politisk band\/Storm is not a political band exclusively.<\/p>\n<cite><em>Storm, Nordavind (1995).<\/em><\/cite><\/blockquote>\n\n\n\n<p>A statement that definitely attempts to take the sting out of what is to come.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"472\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/bak_cd.jpg\" alt=\"\" class=\"wp-image-1032\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/bak_cd.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/bak_cd-300x236.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), innsiden av omslaget, under CD-platen. Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>On the inside of the cover \u2013 under the CD \u2013 there is a section of the mountain Geitgaljartinden taken from the front of the cover, which shows a smaller part of the mountain and some sky. Above the picture it says: &laquo;Norsk nasjonalromantisk musikk&raquo; (Norwegian national romantic music) in the same San Marco Roman font as the Storm logo is written in. When in addition a Norwegian flag in the form of a sun cross is printed on the CD itself (and on the LP label), then it is obviously set for trouble. And Wongraven and Nagell must have known that. Halvor Bodin says the following about this:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>I remember the label that I perhaps regretted a little. But there are some nuances there.<\/p>\n<cite><em>Email from Halvor Bodin, December 28, 2021. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>In a later email, he clarifies what he means by nuances:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>What I mean is that using a historical and very interesting symbol that eventually became reasonably charged was a difficult and ambivalent decision.<\/p>\n<cite><em>Email from Halvor Bodin, February 4, 2022. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"518\" height=\"511\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/cd_01.jpg\" alt=\"\" class=\"wp-image-1034\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/cd_01.jpg 518w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/cd_01-300x296.jpg 300w\" sizes=\"auto, (max-width: 518px) 100vw, 518px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), CD-platens forside. Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The sun cross, or wheel cross, is an equal-armed cross inscribed in a circle, where the ends of the cross arms touch the circle. Wikipedia can tell you that the sun cross is one of the oldest and most widespread graphic figures in existence, and is known as a magic-religious symbol and decorative element in all major cultures and all over the world. We know the symbol in Norway from rock carvings, church walls, seals and heraldic emblems from ancient times, all the way back to the Bronze Age, around 1500\u2013500 BCE.<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Nasjonal_Samling_insignia.svg_-1024x1024.png\" alt=\"\" class=\"wp-image-1187\" style=\"width:256px;height:256px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Nasjonal_Samling_insignia.svg_-1024x1024.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Nasjonal_Samling_insignia.svg_-300x300.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Nasjonal_Samling_insignia.svg_-150x150.png 150w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Nasjonal_Samling_insignia.svg_-768x768.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Nasjonal_Samling_insignia.svg_-1536x1536.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Nasjonal_Samling_insignia.svg_-1200x1200.png 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Nasjonal_Samling_insignia.svg_.png 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Nasjonal Samlings emblem. Foto: Wikipedia.<\/figcaption><\/figure>\n\n\n\n<p>But we also know it from World War II when Vidkun Quisling<sup data-fn=\"84f6a0aa-c50f-4de0-a4c8-b5650e8a70a4\" class=\"fn\"><a href=\"#84f6a0aa-c50f-4de0-a4c8-b5650e8a70a4\" id=\"84f6a0aa-c50f-4de0-a4c8-b5650e8a70a4-link\">15<\/a><\/sup> chose the symbol as the emblem for his nationalist fascist party Nasjonal Samling. Since then, the symbol has often been associated with Nazism and right-wing extremism.<\/p>\n\n\n\n<p>It is therefore not very difficult to imagine that Storm wants to point out that the use of the sun cross, the national romantic claim, as well as some of the texts in <em>Nordavind<\/em> are not of a right-wing extremist character, but refer to something original Norwegian. It is interesting to remember that before the war there was disagreement in Nasjonal Samling about the use of the sun cross as an emblem. &laquo;For the pagan left wing, led by Hans S. Jacobsen, the symbol was too Christian, and he wrote in the magazine Ragnarok no. 3 in 1937 that it was un-Ordinary,&raquo; writes the Norwegian Wikipedia.<sup data-fn=\"5cac7e52-9aaf-4502-aa84-6cff1636ecbc\" class=\"fn\"><a href=\"#5cac7e52-9aaf-4502-aa84-6cff1636ecbc\" id=\"5cac7e52-9aaf-4502-aa84-6cff1636ecbc-link\">16<\/a><\/sup><\/p>\n\n\n\n<p>It has not been further proven, Wikipedia further writes (in my translation), and contrary to Jacobsen&#8217;s claim, that it &laquo;has been claimed that in ancient times in the Nordic countries a circle with a cross was perceived as a form of &laquo;Odin&#8217;s Cross&raquo;. The figure is thus linked to both the sun and Odin as a sky god.&raquo;<\/p>\n\n\n\n<p>Wikipedia also writes:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>With the introduction of Christianity from around 1000 AD, the circle with a cross took on a new symbolism. When a church was consecrated, forms of this figure were drawn, carved, or painted on the church wall. The figure could then be interpreted as a symbol that the church was the property of Christ. The figure was used as a symbol of consecration and could be interpreted as keeping demons or evil powers away.<\/p>\n<cite><em>Wikipedia, <a href=\"https:\/\/no.wikipedia.org\/wiki\/Solkorset\">https:\/\/no.wikipedia.org\/wiki\/Solkorset<\/a>. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Here I believe we are on the explanation of why Storm uses this hated symbol on <em>Nordavind<\/em>. It does not point to Quisling&#8217;s nationalist and fascist use, but rather back to the Norse pre-Christian era, and black metal ideology believes that the symbol was stolen from the golden Viking age by the Christian invaders. This also partly explains Mayhem&#8217;s Legion Norge shirt, which has arms adorned with the Norwegian national coat of arms and the SS&#8217; Totenkopf symbol, while the back shows a variant of the emblem of the Rikshirden, the political soldiers of the National Samling. In Mayhem&#8217;s version, the symbol has incorporated two inverted crosses instead of swords. The shirt connects the black metal army that is to crush Christianity. As such, the use of the solar cross is both a provocation and a historical point at the same time. To present this criticism is impossible without taking back the use of the symbol with the meaning it is now attributed to. At the same time, it also necessarily becomes a provocation. It is therefore wrong and too simple to promote a criticism of Storm&#8217;s use of the solar cross as provocative, when they believe that it is precisely the later use of the symbol that is provocative, not the original one that Storm wants to bring back.<\/p>\n\n\n\n<p>Bernhard Ellefsen discusses some of the same arguments in his criticism of Ottar Grepstad&#8217;s book <em>Brent ord: Bokb\u00e5l mot spr\u00e5k i Noreg 1912\u20132005<\/em> (Burnt word: Book bonfire against language in Norway 1912\u20132005) (2022) in Morgenbladet no. 3, 21\u201327 January 2022. Ellefsen is strongly critical of Grepstad equating the Nazi book bonfires in Germany with high school students burning Nynorsk word lists after completing their Nynorsk exams in Norway: &laquo;A book bonfire is a book bonfire is a book bonfire &#8211; that is the claim that is the basis for Grepstad&#8217;s book&raquo;.<sup data-fn=\"fafefc35-3b08-40df-a722-955cc67d7795\" class=\"fn\"><a href=\"#fafefc35-3b08-40df-a722-955cc67d7795\" id=\"fafefc35-3b08-40df-a722-955cc67d7795-link\">17<\/a><\/sup> In our case, one can thus put the following claim in the mouths of critics of Storm&#8217;s alleged nationalism: A sun cross is a sun cross is a sun cross. According to Ellefsen, Grepstad&#8217;s condemnation of the book burnings in the Norwegian language conflict is only justified as an aesthetic condemnation, and not as a condemnation on the same grounds as the Nazi book burnings as part of a racially motivated genocide. When asked why the Norwegian high school students chose the book burning as their means of action, Ellefsen himself answers: &laquo;Because it is insulting.&raquo; In the same way, I believe that black metal&#8217;s use of inflammatory symbols can be summarized, in some cases, as with Storm, with a small addition, namely that they wanted to resort to an earlier non-Christian or non-fascist, primordial Norwegian use of the symbols, and where the use of these symbols was precisely necessary to get this point across. In this respect, black metal can sometimes be said to be a bit more elaborate in its use of symbols than the average high school student&#8217;s book burning, even though the aesthetic judgment can hit just as hard: it is often more distasteful than is actually necessary.<\/p>\n\n\n\n<p>Now, of course, it is debatable whether black metal&#8217;s fight against Christianity is political or not. I believe that it necessarily is if one uses a broader political term. It may well be that black metal does not see itself as a political weapon, but more as a movement outside the sphere of politics. I will write more about this in the article &laquo;<a href=\"https:\/\/morkemeditasjoner.no\/?p=1605\" type=\"post\" id=\"1605\">Den levende d\u00f8de<\/a>&laquo;.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"470\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/omslag_bakside.jpg\" alt=\"\" class=\"wp-image-1037\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/omslag_bakside.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/omslag_bakside-300x235.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), bakside av CD-omslaget. Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>On the back of the <em>Nordavind<\/em> cover, the songs are listed in capital letters, also in the San Marco Roman font:<\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Innferd<\/li>\n\n\n\n<li>Mellom bakkar og berg<\/li>\n\n\n\n<li>Haavard Hedde<\/li>\n\n\n\n<li>Villemann<\/li>\n\n\n\n<li>Nagellstev<\/li>\n\n\n\n<li>Oppi fjellet<\/li>\n\n\n\n<li>Langt borti lia<\/li>\n\n\n\n<li>Lokk<\/li>\n\n\n\n<li>Noregsgard<\/li>\n\n\n\n<li>Utferd<\/li>\n<\/ol>\n\n\n\n<p>Addresses to record companies and distributors are listed in the same font. All on the background of a section of the mountain Geitgaljartinden, again taken from the front cover, and which only shows mountains and patches of snow.<\/p>\n\n\n\n<p>The booklet for Nordavind, which has a total of eight pages, of course consists of the cover I have already mentioned. Page 2 shows a picture of Sigurd &laquo;Satyr&raquo; Wongraven standing in a forest with his arms crossed. I will say a lot more about page 3 in a moment.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"599\" height=\"595\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_02.jpg\" alt=\"\" class=\"wp-image-1049\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_02.jpg 599w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_02-300x298.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_02-150x150.jpg 150w\" sizes=\"auto, (max-width: 599px) 100vw, 599px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), s. 2 i CD-heftet. Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>Page 4 shows a picture of Kari Ruesl\u00e5tten, also in the forest with fir branches surrounding her reddish-brown hair and an illuminated face in the darkness surrounding her.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"560\" height=\"556\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_04.jpg\" alt=\"\" class=\"wp-image-1050\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_04.jpg 560w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_04-300x298.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_04-150x150.jpg 150w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), s. 4 i CD-heftet. Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"pillarguritoppen-and-folque\">Pillarguritoppen and Folque<\/h3>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"597\" height=\"587\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381673-1334294432.jpg\" alt=\"\" class=\"wp-image-950\" style=\"width:299px;height:294px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381673-1334294432.jpg 597w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-381673-1334294432-300x295.jpg 300w\" sizes=\"auto, (max-width: 597px) 100vw, 597px\" \/><figcaption class=\"wp-element-caption\">Isengard, <em>H\u00f8stm\u00f8rke<\/em> (1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>Page 3 shows Gylve Fenris Nagell with his arms crossed in front of the doors of an old farm building at Pillarguritoppen, a hill near the village of Otta, north of Gudbrandsdalen. The photo was taken in September 1994 by Wongraven. We know this because a photo in the same series of photographs is used on the cover of Isengard&#8217;s <em>H\u00f8stm\u00f8rke<\/em>, and the back cover of that publication reads as follows:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Front cover photo taken by Satyr during Fenriz\u2019 and Satyr\u2019s glorious mountain trip in September 1994. Desolate norwegian [sic.] landscapes rules.<\/p>\n<cite><em>Isengard, H\u00f8stm\u00f8rke (1995).<\/em><\/cite><\/blockquote>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"577\" height=\"575\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_03.jpg\" alt=\"\" class=\"wp-image-1048\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_03.jpg 577w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_03-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_03-150x150.jpg 150w\" sizes=\"auto, (max-width: 577px) 100vw, 577px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), s. 3 i CD-heftet. Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>That the place they traveled to was Pillarguritoppen near Otta is revealed in the commentary track for &laquo;Neslepaks&raquo; in the extended version of <em>H\u00f8stm\u00f8rke<\/em>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The album cover was \u2026 photo taken by Satyr on a trip he set up for us in September of \u201894 to go to Pillarguritoppen, also known from the seminal folk album from the Norwegian band Folque from the seventies. And that is really my hard line when it comes to folk rock. It&#8217;s absolutely fantastic. Folk rock from the sixties and seventies. Great. Folk rock. Great. Folk metal should in most cases be deleted. I think it&#8217;s a horrible form of music actually. And I might have contributed to that. I might also have contributed to [&#8230;] make decent folk metal songs that aren&#8217;t spastic and merry and all that junk that came later on in the nineties.<\/p>\n<cite><em>Isengard, H\u00f8stm\u00f8rke (1995), commentary track to &laquo;Neslepaks&raquo;.<\/em><\/cite><\/blockquote>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"500\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1517628-1268604201.jpg\" alt=\"\" class=\"wp-image-1057\" style=\"width:250px;height:250px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1517628-1268604201.jpg 500w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1517628-1268604201-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1517628-1268604201-150x150.jpg 150w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption class=\"wp-element-caption\">Folque, <em>Folque<\/em> (1974). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The connection to the Norwegian folk rock group Folque is quite complex, but as we will see, I attach great importance to it. On their self-titled debut album Folque from 1974, there is a song called &laquo;Sinclairvise&raquo;.<\/p>\n\n\n\n<p>The text refers to a true story about Captain George Sinclair<sup data-fn=\"17fcf0b7-8208-4faf-8de6-e71920779207\" class=\"fn\"><a href=\"#17fcf0b7-8208-4faf-8de6-e71920779207\" id=\"17fcf0b7-8208-4faf-8de6-e71920779207-link\">18<\/a><\/sup> and his company of Scottish soldiers who were hired by the Swedish king to fight against Denmark-Norway in the Kalmar War of 1611\u20131613. The Scottish train, as the group was called, was ambushed by Norwegian farmers in Kringen just south of Otta in Gudbrandsdalen on 26 August 1612, while they were on their way through Romsdalen and Gudbrandsdalen towards Sweden after landing at \u00c5ndalsnes. Most of the Scots who were captured were executed at Skottel\u00e5ven in Kvam, and only 18 of the 300\u2013400 Scottish soldiers survived and were sent to Copenhagen.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1090\" height=\"702\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Adolph_Tidemand__Morten_Muller_Sinclairs_landing_i_Romsdal.jpg\" alt=\"\" class=\"wp-image-1053\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Adolph_Tidemand__Morten_Muller_Sinclairs_landing_i_Romsdal.jpg 1090w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Adolph_Tidemand__Morten_Muller_Sinclairs_landing_i_Romsdal-300x193.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Adolph_Tidemand__Morten_Muller_Sinclairs_landing_i_Romsdal-1024x659.jpg 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Adolph_Tidemand__Morten_Muller_Sinclairs_landing_i_Romsdal-768x495.jpg 768w\" sizes=\"auto, (max-width: 1090px) 100vw, 1090px\" \/><figcaption class=\"wp-element-caption\">Adolph Tidemand og Morten M\u00fcller, \u00abSinclairs landgang i Romsdalen\u00bb (1876). Wikipedia: <a href=\"https:\/\/no.wikipedia.org\/wiki\/Skottetoget_1612\">https:\/\/no.wikipedia.org\/wiki\/Skottetoget_1612<\/a>.<\/figcaption><\/figure>\n\n\n\n<p>According to the story, there was a woman whose task was to give the signal when the Norwegian peasant army could start the attack on the Scottish army. She reportedly did this by standing on a hill and blowing a horn. According to the legend, her name was <em>Pillarguri<\/em> or <em>Prillar-Guri<\/em>. The hill of 852 meters above sea level, which is located directly above the farm Selsjord on the west side of Gudbrandsdalsl\u00e5gen, opposite Kringen on the east side, was called Selsjordkampen until the 19th century. Today, the hill is called Pillarguritoppen.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"814\" height=\"900\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Battle_of_Kringen.jpg\" alt=\"\" class=\"wp-image-1055\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Battle_of_Kringen.jpg 814w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Battle_of_Kringen-271x300.jpg 271w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Battle_of_Kringen-768x849.jpg 768w\" sizes=\"auto, (max-width: 814px) 100vw, 814px\" \/><figcaption class=\"wp-element-caption\">Georg Nielsen Str\u00f8mdal, \u00abSlaget ved Kringen\u00bb (1897). Wikipedia: <a href=\"https:\/\/no.wikipedia.org\/wiki\/Skottetoget_1612\">https:\/\/no.wikipedia.org\/wiki\/Skottetoget_1612<\/a>.<\/figcaption><\/figure>\n\n\n\n<p>At the end of Folque&#8217;s version of \u00abSinclairvise\u00bb the following is stated:<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Ei noen levende sjel kom hjem,<br>Som kunne sin landsmann fortelle<br>Hvor farlig det er at bes\u00f8ke dem<br>Der bor i blandt Norriges fjelde.<sup data-fn=\"d7225dad-b0a7-481c-91e6-b977b4c6f40e\" class=\"fn\"><a href=\"#d7225dad-b0a7-481c-91e6-b977b4c6f40e\" id=\"d7225dad-b0a7-481c-91e6-b977b4c6f40e-link\">19<\/a><\/sup><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Not a single living soul came home,<br>Who could tell his countryman<br>How dangerous it is to visit them<br>There live among the mountains of Norway.<sup data-fn=\"4860402f-edfd-4780-b8b7-0e0f94b12d29\" class=\"fn\"><a href=\"#4860402f-edfd-4780-b8b7-0e0f94b12d29\" id=\"4860402f-edfd-4780-b8b7-0e0f94b12d29-link\">20<\/a><\/sup><\/pre>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"904\" height=\"1017\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Edvard_Storm.jpg\" alt=\"\" class=\"wp-image-1059\" style=\"width:226px;height:254px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Edvard_Storm.jpg 904w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Edvard_Storm-267x300.jpg 267w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/Edvard_Storm-768x864.jpg 768w\" sizes=\"auto, (max-width: 904px) 100vw, 904px\" \/><figcaption class=\"wp-element-caption\">Edvard Storm (1749\u20131794). Foto: Wikipedia.<\/figcaption><\/figure>\n\n\n\n<p>The poet who originally wrote the visa is Edvard Storm (1749\u20131794). Edvard STORM. STORM! This may have been the deciding factor in the name Wongraven and Nagell chose for their band after a previous study trip to Pillarguritoppen near Otta.<\/p>\n\n\n\n<p>This battle at Kringen, where invaders were defeated by Norwegian peasants in national romantic surroundings, enhanced by dramatic paintings by Adolph Tidemand and Morten M\u00fcller (1876), and Georg Nielsen Str\u00f8mdal (1856\u20131914), as well as the artist&#8217;s insistence on how dangerous the Norwegian mountain dweller is, must have appealed to barricade-storming black metallers like Wongraven and Nagell in the fight against the Christian invaders who thwarted the Norwegian (Norse) folk soul.<\/p>\n\n\n\n<p>But not only these. The Battle of Kringen also inspired Theodor Kittelsen. In 1900 he made the drawing &laquo;Op under Fjeldet toner en Lur&raquo; which depicts Pillarguri blowing the musical instrument <em>lur<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"746\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/Op_under_Fjeldet_toner_en_Lur-1024x746.jpg\" alt=\"\" class=\"wp-image-2072\" style=\"width:610px;height:444px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/Op_under_Fjeldet_toner_en_Lur-1024x746.jpg 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/Op_under_Fjeldet_toner_en_Lur-300x219.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/Op_under_Fjeldet_toner_en_Lur-768x559.jpg 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/Op_under_Fjeldet_toner_en_Lur.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Kittelsen, T. (1900). &laquo;Op under Fjeldet toner en Lur&raquo;.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"600\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/R-22073596-1645530387-7891.jpg\" alt=\"\" class=\"wp-image-2073\" style=\"width:281px;height:281px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/R-22073596-1645530387-7891.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/R-22073596-1645530387-7891-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/11\/R-22073596-1645530387-7891-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Burzum, <em>Filosofem<\/em> (1996). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The Battle of Kringen and Kittelsen&#8217;s drawing of Pillarguri must also have inspired a fellow musician of Wongraven and Nagell, namely Varg Vikernes. On January 31, 1996, he released his fourth studio album <em>Filosofem<\/em> under the name Burzum. And on the front cover, it was Kittelsen&#8217;s drawing &laquo;Op under Fjeldet toner en Lur&raquo; that was used. This is the second of three Burzum releases to use Kittelsen&#8217;s art, and the cover of <em>Filosofem<\/em> uses many of his drawings.<\/p>\n\n\n\n<p>Edvard Storm wrote &laquo;Zinklars vise&raquo; in 1781. Storm was a trained priest, born and raised in V\u00e5g\u00e5 in Gudbrandsdalen. The song about the Scottish march soon became popular, and helped to incite the patriotic struggle leading up to and in the years after the Norwegian secession from Denmark in 1814. The Norwegian poet Henrik Wergeland refers to &laquo;Zinklars Vise&raquo; in a few scriptures, and the song is included in school and songbooks well into modern times.<sup data-fn=\"d92fd959-07c1-4b75-a541-57709ca9c7db\" class=\"fn\"><a href=\"#d92fd959-07c1-4b75-a541-57709ca9c7db\" id=\"d92fd959-07c1-4b75-a541-57709ca9c7db-link\">21<\/a><\/sup> It is almost to be counted as a folk song, and many folk musicians have recorded it.<sup data-fn=\"d5b9b3a7-95c5-4538-8fe8-6b871d6a6e7d\" class=\"fn\"><a href=\"#d5b9b3a7-95c5-4538-8fe8-6b871d6a6e7d\" id=\"d5b9b3a7-95c5-4538-8fe8-6b871d6a6e7d-link\">22<\/a><\/sup><\/p>\n\n\n\n<p>In Norway, the song is known with two different melodies. The oldest folk tune has been found since ancient times in Gudbrandsdalen, and is used in the verses of the song itself. Folque uses a different melody than this, one that originates from the Faroe Islands, and which was previously not known in Norway. Folque&#8217;s variant has a Faroese dance rhythm and chorus, a chorus that is not found in Edvard Storm&#8217;s original text, and they have cut twelve of the original verses. Below are the differences between Folque&#8217;s &laquo;Sinclairvise&raquo; and the original song &laquo;Zinklars vise&raquo; written by Edvard Storm highlighted.<sup data-fn=\"36b6d04a-ff1c-4a03-8463-34eadec358ad\" class=\"fn\"><a href=\"#36b6d04a-ff1c-4a03-8463-34eadec358ad\" id=\"36b6d04a-ff1c-4a03-8463-34eadec358ad-link\">23<\/a><\/sup><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abSinclairvise\u00bb\nFolque\n\nHerr Sinclair drog over salten hav,\nTil Norrig hans kurs monne stande.\nBlant Gudbrands klipper han fant sin grav,\nDer vanket s\u00e5 blodig en panne.\n\n<strong>Vel opp f\u00f8r dag,<\/strong>\n<strong>De kommer vel over den hede.<\/strong>\n\nVed Romsdals kyster de styrte til land,\nErkl\u00e6rte seg for en fiende.\nHan fulgte fjorten hundrede mann\nSom alle hadde ondt i sinne.\n\n<strong>Vel opp f\u00f8r dag,<\/strong>\n<strong>De kommer vel over den hede.<\/strong>\n\nDe skj\u00e6ndte og brente hvor de dro frem,\nAll folkeret monne de krenke\nOg oldingens avmakt r\u00f8rte ei dem,\nDe spottet den gr\u00e5tende enke.\n\n<strong>Vel opp f\u00f8r dag,<\/strong>\n<strong>De kommer vel over den hede.<\/strong>\n\nBarnet blev drept i moderens kj\u00f8d,\nS\u00e5 mildelig det enn smilte.\nMen ryktet om denne jammer og n\u00f8d\nTil kjernen av landet ilte.\n\n<strong>Vel opp f\u00f8r dag,<\/strong>\n<strong>De kommer vel over den hede.<\/strong>\n\nOg baunen lyste og budstikken l\u00f8p\nFra grande til n\u00e6rmeste grande\nOg dalens s\u00f8nner i skjul ei kr\u00f8p,\nDet m\u00e5tte herr Sinclair sande.\n\n<strong>Vel opp f\u00f8r dag,<\/strong>\n<strong>De kommer vel over den hede.<\/strong>\n\nDe b\u00f8nder fra V\u00e5g\u00e5, Lesja og Lom\nMed skarpe \u00f8kser p\u00e5 nakke\nI bredebygd tilsammen kom,\nMed skotten ville de snakke.\n\n<strong>Vel opp f\u00f8r dag,<\/strong>\n<strong>De kommer vel over den hede.<\/strong>\n\nFrem b\u00f8nder, frem I norske menn\nSl\u00e5 ned, sl\u00e5 ned for fote!\nDa \u00f8nsket seg skotten hjem igjen,\nHan var ei rett lystig til mote.\n\n<strong>Vel opp f\u00f8r dag,<\/strong>\n<strong>De kommer vel over den hede.<\/strong>\n\nEi noen levende sjel kom hjem,\nSom kunne sin landsmann fortelle\nHvor farlig det er at bes\u00f8ke dem\nDer bor i blandt Norriges fjelde.\n\n<strong>Vel opp f\u00f8r dag,<\/strong>\n<strong>De kommer vel over den hede.<\/strong><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abZinklars vise\u00bb\nEdvard Storm\n\nHerr Zinklar drog over salten Hav;\nTil Norrig hans Cours monne stande;\nBlant Guldbrands Klipper han fant sin Grav,\nDer vanked s\u00e5 blodig en Pande.\n\n<strong>Herr Zinklar drog over B\u00f8lgen blaa\nFor Svenske Penge at stride:\nHj\u00e6lpe dig Gud du visselig maa\nI Gr\u00e6sset for Nordmanden bide.\n\nMaanen skinner om Natten bleg,\nDe Vover saa sagtelig trille:\nEn Havfrue op av Vandet steg\nHun spaaede Herr Zinklar ilde.\n\nVend om, vend om, du Skotske Mand!\nDet gi\u00e6lder dit Liv saa fage,\nKommer du til Norrig, jeg siger for sand,\nRet aldrig du kommer tilbage.\n\nLeed er din Sang, du giftige Trold!\nAltidens du spaaer om Ulykker,\nFanger jeg dig en gang i Vold\nJeg lader dig hugge i Stykker.\n\nHan seiled i Dage, han seiled i tre\nMed alt sit hyrede F\u00f8lge,\nDen fierde Morgen han Norrig mon see,\nJeg vil det ikke ford\u00f8lge.<\/strong>\n\nVed Romsdals Kyster han styred til Land\nErkl\u00e6rende sig for en Fiende,\nHam fulgte fiorten hundrede Mand\nSom alle havde ondt i Sinde.\n\nDe skiendte og br\u00e6ndte hvor de drog frem,\nAl Folkeret monne de kr\u00e6nke,\nOldingens Afmagt r\u00f8rte ei dem,\nDe spotted den gr\u00e6dende Enke.\n\nBarnet blev dr\u00e6bt i Moderens Skj\u00f8d,\nSaa mildelig det end smiled;\nMen Rygtet om denne Jammer og N\u00f8d\nTil Kjernen af Landet iled.\n\nBaunen lyste og Budstikken l\u00f8b\nFra Grande til n\u00e6rmeste Grande,\nDalens s\u00f8nner i Skjul ei kr\u00f8b\nDet maatte Hr. Zinklar sande.\n\n<strong>Soldaten er ude paa Kongens Tog,\nVi maae selv Landet forsvare;\nForbandet v\u00e6re det Niddings Drog,\nSom nu sit Blod vilde spare!<\/strong>\n\nDe B\u00f8nder av Vaage, Less\u00f8e og Lom,\nMed skarpe \u00d8xer paa Nakke,\nI Bredeb\u00f8igd tilsammen kom,\nMed Skotten vilde de snakke.\n\n<strong>T\u00e6t under Lide der l\u00f8ber en Stie,\nSom man monne Kringen kalde,\nLaugen skynder sig der forbi,\nI den skal Fienderne falde.\n\nRiflen h\u00e6nger ei meer paa V\u00e6g,\nHist sigter graah\u00e6rdede Skytte,\nN\u00f8kken opl\u00f8fter sit vaade Skieg,\nOg venter med L\u00e6ngsel sit Bytte.\n\nDet f\u00f8rste Skud Hr. Zinklar gialdt,\nHan br\u00f8led og opgav sin Aande;\nHver Skotte raabte, da Obersten faldt:\nGud frie os af denne Vaande!<\/strong>\n\nFrem B\u00f8nder! Frem, I norske M\u00e6nd!\nSlaaer ned, slaaer ned for Fode!\nDa \u00f8nsked sig Skotten hiem igjen,\nHan var ei ret lystig til Mode.\n\n<strong>Med d\u00f8de Kroppe blev Kringen str\u00f8et,\nDe Ravne fik nok at \u00e6de;\nDet Ungdoms Blod, som her udfl\u00f8d,\nDe Skotske Piger begr\u00e6de.<\/strong>\n\nEi nogen levende Siel kom hiem,\nSom kunde sin Landsmand fort\u00e6lle,\nHvor farligt det er at bes\u00f8ge dem,\nDer boe blandt Norriges Fielde.\n\n<strong>End kneiser en St\u00f8tte paa samme Sted,\nSom Norges Uvenner mon true.\nVee hver en Nordmand, som ei bliver heed,\nSaa tidt hans \u00d8ine den skue!<\/strong><\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>Even though Folque&#8217;s &laquo;Sinclairvise&raquo; is not included on Storms <em>Nordavind<\/em>, there is much to suggest that this song may have been decisive for Storm to embark on such a risky project as making a folk metal album. This impression is reinforced, as we will see later in the article, by the fact that fragments of melodies from Folque are used on Storms <em>Nordavind<\/em>. There is thus little doubt that Folque has been a major and very important source of inspiration for Storm on <em>Nordavind<\/em>.<sup data-fn=\"f901d3dc-a18d-4a60-ad00-1d91c29be90b\" class=\"fn\"><a href=\"#f901d3dc-a18d-4a60-ad00-1d91c29be90b\" id=\"f901d3dc-a18d-4a60-ad00-1d91c29be90b-link\">24<\/a><\/sup><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"a-little-more-about-the-fonts\">A little more about the fonts<\/h3>\n\n\n\n<p>Before we move on to the rest of the booklet, there is one more clue I would like to follow up on that I believe closely links Storm&#8217;s <em>Nordavind<\/em> to Folque. Then we will return to the fonts used on the cover and in the booklet of Nordavind. As we recall, I was told by designer Halvor Bodin that the font used for the band name &laquo;STORM&raquo; on the cover is San Marco Roman by Karlgeorg Hoefer, while &laquo;Nordavidind&raquo; is written in the font Pabst, designed by Frederic Goudy. Both fonts are used throughout the entire cover design.<\/p>\n\n\n\n<p>First, we&#8217;ll look at the Pabst font. It looks like this in uppercase:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"136\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.04-1024x136.png\" alt=\"\" class=\"wp-image-1296\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.04-1024x136.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.04-300x40.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.04-768x102.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.04-1536x204.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.04-1200x159.png 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.04.png 1780w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">LTC Pabst Oldstyle Regular font in uppercase, taken from <a href=\"https:\/\/fonts.adobe.com\/fonts\/ltc-pabst-oldstyle\">fonts.adobe.com\/fonts\/ltc-pabst-oldstyle<\/a>.<\/figcaption><\/figure>\n\n\n\n<p>And so in lowercase:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"196\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.45-1024x196.png\" alt=\"\" class=\"wp-image-1297\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.45-1024x196.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.45-300x57.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.45-768x147.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.45-1200x229.png 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.27.45.png 1256w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">LTC Pabst Oldstyle Regular font in lowercase, taken from <a href=\"https:\/\/fonts.adobe.com\/fonts\/ltc-pabst-oldstyle\">fonts.adobe.com\/fonts\/ltc-pabst-oldstyle<\/a>.<\/figcaption><\/figure>\n\n\n\n<p>If we then compare this font to the font used for the &laquo;folque&raquo; logo on Folque, a striking similarity is revealed.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"500\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1517628-1268604201.jpg\" alt=\"\" class=\"wp-image-1057\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1517628-1268604201.jpg 500w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1517628-1268604201-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-1517628-1268604201-150x150.jpg 150w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption class=\"wp-element-caption\">Folque,&nbsp;<em>Folque<\/em>&nbsp;(1974). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>Likheten blir tydeligere om vi skriver ut \u00abfolque\u00bb med Pabst:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"151\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.36.46-1024x151.png\" alt=\"\" class=\"wp-image-1298\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.36.46-1024x151.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.36.46-300x44.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.36.46-768x114.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.36.46-1536x227.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.36.46-2048x303.png 2048w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.36.46-1200x178.png 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.36.46-1980x293.png 1980w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">LTC Pabst Oldstyle Regular font in lowercase, taken from <a href=\"https:\/\/fonts.adobe.com\/fonts\/ltc-pabst-oldstyle\">fonts.adobe.com\/fonts\/ltc-pabst-oldstyle<\/a>.<\/figcaption><\/figure>\n\n\n\n<p>As we can see, it is not a complete match, but it is similar enough that one can suspect some influence on the choice of font on Storm&#8217;s <em>Nordavind<\/em>. Halvor Bodin, the designer of <em>Nordavind<\/em>, denies such influence in an email to me, at least on his:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>I&#8217;ve probably seen that album, I have no relationship with the band, but there&#8217;s no conscious connection, no, not even subconsciously, I think.<\/p>\n<cite><em>Email from Halvor Bodin, February 9, 2022.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Even more interesting is the font San Marco Roman, which is a more Gothic-looking font. We do not find it used on Folque&#8217;s <em>Folque<\/em>, at least not on the releases that were available at the time Storm created Nordavind. But as we will see, Folque uses a similar font on later releases. Here is first an overview of San Marco Roman:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"564\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.48.26-1024x564.png\" alt=\"\" class=\"wp-image-1299\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.48.26-1024x564.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.48.26-300x165.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.48.26-768x423.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.48.26-1536x846.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.48.26-1200x661.png 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.48.26.png 1674w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Overview of the San Marco Roman font, taken from <a href=\"https:\/\/fontsgeek.com\/fonts\/SanMarco-Roman\">fontsgeek.com\/fonts\/SanMarco-Roman<\/a>.<\/figcaption><\/figure>\n\n\n\n<p>We can clearly see that this is the font Storm has used on its own logo:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"245\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.49.34-1024x245.png\" alt=\"\" class=\"wp-image-1300\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.49.34-1024x245.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.49.34-300x72.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.49.34-768x184.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.49.34-1536x368.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.49.34-1200x287.png 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.49.34.png 1680w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">&laquo;STORM&raquo; written in capitals in the San Marco Roman font, taken from <a href=\"https:\/\/fontsgeek.com\/fonts\/SanMarco-Roman\">fontsgeek.com\/fonts\/SanMarco-Roman<\/a>.<\/figcaption><\/figure>\n\n\n\n<p>If we print &laquo;Folque&raquo; with the same font, we get this expression:<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"238\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.50.57-1024x238.png\" alt=\"\" class=\"wp-image-1301\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.50.57-1024x238.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.50.57-300x70.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.50.57-768x178.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.50.57-1536x357.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.50.57-1200x279.png 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-28-kl.-23.50.57.png 1670w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">&laquo;Folque&raquo; written in uppercase and lowercase in the San Marco Roman font, taken from <a href=\"https:\/\/fontsgeek.com\/fonts\/SanMarco-Roman\">fontsgeek.com\/fonts\/SanMarco-Roman<\/a>.<\/figcaption><\/figure>\n\n\n\n<p>A similar font was used on Folque&#8217;s next release, <em>Vard\u00f8ger<\/em>, from 1977.:<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"591\" height=\"591\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-2198983-1384632146-9852.jpg\" alt=\"\" class=\"wp-image-1302\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-2198983-1384632146-9852.jpg 591w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-2198983-1384632146-9852-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-2198983-1384632146-9852-150x150.jpg 150w\" sizes=\"auto, (max-width: 591px) 100vw, 591px\" \/><figcaption class=\"wp-element-caption\">Folque,&nbsp;<em>Vard\u00f8ger<\/em>&nbsp;(1977). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>These two fonts are certainly not identical, but there are particular similarities between the Fs in the two. One could argue that this is coincidental. It is possible, but nevertheless striking.<\/p>\n\n\n\n<p>On his next two releases, <em>Dans, Dans, Olav Liljekrans<\/em> from 1978 and <em>Fredl\u00f8s<\/em> from 1980, Folque used a different Gothic font. Both of these albums have an aesthetic that suggests they could just as easily have been black metal releases.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"600\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3301673-1436632809-6726.jpg\" alt=\"\" class=\"wp-image-1303\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3301673-1436632809-6726.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3301673-1436632809-6726-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3301673-1436632809-6726-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Folque,&nbsp;<em>Dans, Dans<\/em>, Olav Liljekrans&nbsp;(1978). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"595\" height=\"600\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3420329-1529845436-5836.jpg\" alt=\"\" class=\"wp-image-1304\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3420329-1529845436-5836.jpg 595w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3420329-1529845436-5836-298x300.jpg 298w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3420329-1529845436-5836-150x150.jpg 150w\" sizes=\"auto, (max-width: 595px) 100vw, 595px\" \/><figcaption class=\"wp-element-caption\">Folque,&nbsp;<em>Fredl\u00f8s<\/em>&nbsp;(1980). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"the-rest-of-the-booklet\">The rest of the booklet<\/h3>\n\n\n\n<p>So back to the booklet for the CD version of Storms <em>Nordavind<\/em>.<\/p>\n\n\n\n<p>Page 5 shows two large blocks of text in capital letters, both beginning with the word &laquo;Storm&raquo;, on a photographic background of dry trees with outstretched bare branches against a sky in shades from black, purple, blue, and to pink, yellow and red. It is a Norwegian text, and a rough translation of this into English.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"574\" height=\"563\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_05.jpg\" alt=\"\" class=\"wp-image-1061\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_05.jpg 574w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_05-300x294.jpg 300w\" sizes=\"auto, (max-width: 574px) 100vw, 574px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), s. 5 i CD-heftet.<\/figcaption><\/figure>\n\n\n\n<p>I have quoted the English text earlier in the article, but I will reproduce it here again:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Storm was created by S. Wongraven because of his love for Norway and a hunger for playing folksongs [sic.] from his own shores. Nagell joined him and together the melted the music style they are used to with old folksongs [sic.]. Right before \u201cNordavind\u201d was finished Wongraven found Kari Ruesl\u00e5tten and she he [sic.] had the same feeling for this as they had and she joined. Mixing this [sic.] styles has never been done before in this way, and it can not be done either if it does not come straight from your heart. The musical performances on &laquo;Nordavind&raquo; comes straight from the heart and and [sic.] there is a lot of feeling in it from the artists side. It was meant to turn out exactly the way it did. &laquo;Nordavind&raquo; is Storm&#8217;s hymn to Norway and must be looked upon in that way. As probably many of you know, all the members have their own bands but will still continue with their crusade for Norway through Storm. The future looks Norse.<\/p>\n<cite><em>Storm, Nordavind (1995), p. 5 in the CD booklet.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Page 6 lists the songs on <em>Nordavind<\/em> in the same text type that &laquo;Storm&raquo; is written in, namely San Marco Roman. The text is set against a photographic background of a dramatic cloudy sky with the Sun descending over a rooftop.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"563\" height=\"564\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_06.jpg\" alt=\"\" class=\"wp-image-1063\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_06.jpg 563w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_06-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_06-150x150.jpg 150w\" sizes=\"auto, (max-width: 563px) 100vw, 563px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), s. 6 i CD-heftet.<\/figcaption><\/figure>\n\n\n\n<p>Under each title it says who wrote the song in the font Pabst, and who contributes vocals. I will go through this in connection with each of the songs later. But it is worth noting one overarching thing. Lyricists are not credited on Nordavind, precisely because many of the songs consist of lyrics borrowed from others who are not credited. This also agrees well with something Nagell says in the commentary track for the song &laquo;Over de syngende \u00f8de moer&raquo; on Isengard&#8217;s album <em>H\u00f8stm\u00f8rke<\/em>:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Lyrics again taken from Norwegian poets, so they will not be printed. There is a reason why I chose to just have two lyrics printed on this album. So, you gotta respect that, and I gotta respect my choice from back then too.<\/p>\n<cite><em>Isengard, H\u00f8stm\u00f8rke (1995), the commentary track to &laquo;Over de syngende \u00f8de moer&raquo;.<\/em><\/cite><\/blockquote>\n\n\n\n<p>The lyricists are not credited on <em>H\u00f8stm\u00f8rke<\/em> either, and only two of the lyrics are printed on the cover, namely those written by Nagell himself. It is therefore highly likely that the same considerations were the basis for the absence of lyrics and lyric credits on <em>Nordavind<\/em> as well.<\/p>\n\n\n\n<p>On page 7 of the booklet there is a picture of a moon or sun, partially covered by clouds with several spruce treetops in front. In the text there are the credits that I have reviewed earlier.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"572\" height=\"572\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_07-1.jpg\" alt=\"\" class=\"wp-image-1064\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_07-1.jpg 572w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_07-1-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_07-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 572px) 100vw, 572px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), s. 7 i CD-heftet.<\/figcaption><\/figure>\n\n\n\n<p>Page 8 shows a section of a drawing made by Christian Krogh, taken from Hakon the Good&#8217;s Saga in Snorri Sturluson&#8217;s <em>Heimskringla<\/em>.<sup data-fn=\"b566bec2-3aa5-40fd-8986-ca150a39836c\" class=\"fn\"><a href=\"#b566bec2-3aa5-40fd-8986-ca150a39836c\" id=\"b566bec2-3aa5-40fd-8986-ca150a39836c-link\">25<\/a><\/sup> The drawing shows Asbj\u00f8rn from Medalhus (Melhus) in Gauldalen standing up in front of King Haakon in Frostating with his peasant colleagues behind him. And again we will dig a little deeper. Why did Storm choose to have a drawing of Asbj\u00f8rn from Medalhus, taken from Snorre, on the last page of the booklet on <em>Nordavind<\/em>?<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"561\" height=\"557\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_08.jpg\" alt=\"\" class=\"wp-image-1065\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_08.jpg 561w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_08-300x298.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_08-150x150.jpg 150w\" sizes=\"auto, (max-width: 561px) 100vw, 561px\" \/><figcaption class=\"wp-element-caption\">Storm, <em>Nordavind<\/em> (1995), s. 8 i CD-heftet.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"612\" height=\"916\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Snorre_Sturluson-Christian_Krohg.jpg\" alt=\"\" class=\"wp-image-1183\" style=\"aspect-ratio:0.7168458781362007;object-fit:cover;width:193px;height:auto\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Snorre_Sturluson-Christian_Krohg.jpg 612w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Snorre_Sturluson-Christian_Krohg-200x300.jpg 200w\" sizes=\"auto, (max-width: 612px) 100vw, 612px\" \/><figcaption class=\"wp-element-caption\">Snorri Sturluson (1178\/79\u20131241). Foto: Wikipedia.<sup class=\"modern-footnotes-footnote \" data-mfn=\"1\" data-mfn-post-scope=\"00000000000006ea0000000000000000_3023\"><a href=\"javascript:void(0)\"  role=\"button\" aria-pressed=\"false\" aria-describedby=\"mfn-content-00000000000006ea0000000000000000_3023-1\">1<\/a><\/sup><span id=\"mfn-content-00000000000006ea0000000000000000_3023-1\" role=\"tooltip\" class=\"modern-footnotes-footnote__note\" tabindex=\"0\" data-mfn=\"1\">Tegning av Christian Krogh fra <em>Heimskringla<\/em>, 1899-versjonen.<\/span><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"asbjorn-from-medalhus\">Asbj\u00f8rn from Medalhus<\/h3>\n\n\n\n<p>As we have already seen, Storm pays tribute to the farmers from V\u00e5g\u00e5, Lesja and Lom who rise up and stand up against the Scottish invaders. Asbj\u00f8rn from Medalhus also rises up, and that against the king himself, H\u00e5kon I the Good Adalsteinsfostre (918\u2013961), youngest son of Harald Fairhair and Tora Mosterstong.<\/p>\n\n\n\n<p>Haakon was raised and apprenticed in England by King Adalstein (Aethelstan). There he was baptized, and when he returned to Norway at the age of fifteen, Christianity was firmly planted in his soul. Nevertheless, he is portrayed in later times as someone who returned to paganism. This comes from some episodes in Tr\u00f8ndelag sometime between 950\u2013954, when Haakon visited the great man Sigurd Jarl, and things were set. In short, Haakon&#8217;s Christian faith is put to the test by the pagans of Tr\u00f8ndelag.<\/p>\n\n\n\n<p>In his opening speech at Frostating, King Haakon, according to Snorri, says:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>it was his message and entreaty to the bondes and householding men, both great and small, and to the whole public in general, young and old, rich and poor, women as well as men, that they should all allow themselves to be baptized, and should believe in one God, and in Christ the son of Mary and refrain from all sacrifices and heathen gods; and should keep holy the seventh day, and abstain from all work on it, and keep a fast on the seventh day<\/p>\n<cite><em>Sturluson (1225), Heimskringla, <a href=\"https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0076\">https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0076<\/a>.<\/em><\/cite><\/blockquote>\n\n\n\n<p>But then there was great unrest among the farmers at the Thing. Snorri writes further:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Asbjorn of Medalhus in the Gaulardal stood up, and answered thus to the king&#8217;s proposal:\u2014<\/p>\n\n\n\n<p>&laquo;We bondes, King Hakon, when we elected thee to be our king, and got back our udal rights at the Thing held in Throndhjem, thought we had got into heaven; but now we don&#8217;t know whether we have really got back our freedom, or whether thou wishest to make vassals of us again by this extraordinary proposal that we should abandon the ancient faith which our fathers and forefathers have held from the oldest times, in the times when the dead were burnt, as well as since that they are laid under mounds, and which, although they were braver than the people of our days, has served us as a faith to the present time. We have also held thee so dear, that we have allowed thee to rule and give law and right to all the country. And even now we bondes will unanimously hold by the law which thou givest us here in the Frosta-thing, and to which we have also given our assent; and we will follow thee, and have thee for our king, as long as there is a living man among us bondes here in this Thing assembled. But thou, king, must use some moderation towards us, and only require from us such things as we can obey thee in, and are not impossible for us. If, however, thou wilt take up this matter with a high hand, and wilt try thy power and strength against us, we bondes have resolved among ourselves to part with thee, and to take to ourselves some other chief, who will so conduct himself towards us that we can freely and safely enjoy that faith that suits our own inclinations. Now, king, thou must choose one or other of these conditions before the Thing is ended.&raquo;<\/p>\n\n\n\n<p>The bondes gave loud applause to this speech, and said it expressed their will, and they would stand or fall by what had been spoken.<em>.<\/em><\/p>\n<cite><em>Sturluson (1225), Heimskringla, <a href=\"https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0076\">https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0076<\/a>.<\/em><\/cite><\/blockquote>\n\n\n\n<p>After the Thing dissolves with a fragile agreement, the farmers spend the autumn and winter trying to get King H\u00e5kon to sacrifice \u2013 that is, sacrifice in a pagan way \u2013 and eat horse meat. Eating horse meat had been forbidden in the Catholic Church since the first half of the 8th century because it was linked to the pagan rituals of the Germans.<sup data-fn=\"2b327f11-b3be-4bef-884b-4df4f3c72b4f\" class=\"fn\"><a href=\"#2b327f11-b3be-4bef-884b-4df4f3c72b4f\" id=\"2b327f11-b3be-4bef-884b-4df4f3c72b4f-link\">26<\/a><\/sup> Finally, the next winter, the king reluctantly ate a few pieces of horse liver and \u00aband emptied all the goblets the bondes filled for him without the sign of the cross\u00bb. Then the king left Tr\u00f8ndelag in anger.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1618\" height=\"1360\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.23.16.png\" alt=\"\" class=\"wp-image-1081\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.23.16.png 1618w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.23.16-300x252.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.23.16-1024x861.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.23.16-768x646.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.23.16-1536x1291.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.23.16-1200x1009.png 1200w\" sizes=\"auto, (max-width: 1618px) 100vw, 1618px\" \/><figcaption class=\"wp-element-caption\">Sturlason (1980), s. 90\u201391.<\/figcaption><\/figure>\n\n\n\n<p>The reason why the farmers from Tr\u00f8ndelag, led by Asbj\u00f8rn from Melhus, were able to force the king to his knees was not only the persistent diplomacy of Earl Sigurd, but also that these were energetic chieftains who, around Christmas time sometime in the years 950\u201354, decided to destroy Christianity and make the king sacrifice to the Norse gods:<sup data-fn=\"ce91c5a4-cab7-4a01-9466-95f81741c094\" class=\"fn\"><a href=\"#ce91c5a4-cab7-4a01-9466-95f81741c094\" id=\"ce91c5a4-cab7-4a01-9466-95f81741c094-link\">27<\/a><\/sup><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The four first [from without the Throndhjem district] went in four ships southwards to More, and killed three priests, and burnt three churches, and then they returned.<\/p>\n<cite><em>Sturluson (1225), Heimskringla,<\/em> <a href=\"https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0078\">https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0078<\/a>.<\/cite><\/blockquote>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"424\" height=\"580\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/photo01.jpg\" alt=\"\" class=\"wp-image-1190\" style=\"width:212px;height:290px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/photo01.jpg 424w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/photo01-219x300.jpg 219w\" sizes=\"auto, (max-width: 424px) 100vw, 424px\" \/><figcaption class=\"wp-element-caption\">Varg \u00abGreven\u00bb Vikernes. Foto: burzum.org.<\/figcaption><\/figure>\n\n\n\n<p>It is fascinating that this way of fighting Christianity, apart from the priest murders, is what the same parts of the black metal community \u2013 but not Nagell or Wongraven, mind you \u2013 chose. And the one who led the way here was the black metal Asbj\u00f8rn from Melhus, namely Varg &laquo;Greven&raquo; Vikernes. He started the burning of churches in Norway on May 27, 1992 when he tried to burn down Storetveit Church in Bergen. He succeeded in burning down Holmenkollen Chapel in Oslo, Skjold Church in Vindafjord near Haugesund, and crowned the feat by burning down \u00c5sane Church in Bergen on Christmas Eve 1992. He was suspected, but not convicted, of having burned down Fantoft Stave Church in Bergen. It was the first church to burn down to the ground, on the not coincidentally chosen date of 06.06.92.<\/p>\n\n\n\n<p>Asbj\u00f8rn from Melhus stands up to superior power and defends the old Norse pagan faith on behalf of the farmers. This is why he is depicted in Storm&#8217;s album <em>Nordavind<\/em>.<\/p>\n\n\n\n<p>Under the drawing of Asbj\u00f8rn from Melhus on page 8 of the booklet of the album <em>Nordavind<\/em> it says &laquo;Hans grimme sinn skulle vise dem at nors\u00f8nn han har nok av t\u00e6l&raquo; (His grim mind should show them that the Norse son has enough grit) written in capital letters on a blue background in the San Marco Roman font. This sentence is taken from the song &laquo;Noregsgard&raquo; on Nordavind. &laquo;Noregsgard&raquo; connects Asbj\u00f8rn from Melhus&#8217; speech against the monarchy and Christianity, the farmers from V\u00e5g\u00e5, Lesja and Lom who rise up and stand up against the Scottish invaders, and black metal&#8217;s fight against callous rationalism and diluted secularized Christianity, petty-bourgeois conformity and unfree moralism in a society in decline of values. More about &laquo;Noregsgard&raquo; later.<\/p>\n\n\n\n<p>After this meticulous review of the cover and booklet of <em>Nordavind<\/em>, it is time to go through the songs on Storm&#8217;s album <em>Nordavind<\/em>. What is missing from the cover are the lyrics to the songs. We know that several of the songs are based on well-known folk tunes, but we also know that several of the songs deviate from the original, with several additions by Storm. We also know that there are often several different versions of the folk tunes, depending on when the text was taken from and from which publisher, which makes the work of locating the deviations greater. But we will have to make an attempt.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"the-songs\">The songs<\/h2>\n\n\n\n<p>One of my motivations for delving into the songs of Storm&#8217;s <em>Nordavind<\/em> is, as mentioned, that it is unclear to most people the actual mix of folk tunes and Storm&#8217;s own added material that is on the release. Another motivation is that since the lyrics are not printed on the cover of <em>Nordavind<\/em>, there are several incorrect versions of the lyrics on the Internet. In fact, there are no correct versions online, and one of the reasons is that the errors are copied from service to service, another is that those who enter the lyrics in many cases do not know Norwegian well enough. In the course of what follows, I will in any case correct most of the errors in the lyrics. A third reason why I want to delve into the lyrics is that it is interesting from a cultural-historical perspective why it was precisely these songs that Storm chose.<\/p>\n\n\n\n<p>Throughout the work on this text, I have had a hypothesis that the entire corpus of texts has been found collected in a songbook that Storm has used, either as something they have brought with them from school \u2013 songs had a large place in music and Norwegian education at the time Storm&#8217;s members were growing up \u2013 or as something they have obtained and researched later. Access to song texts at this time was exclusively via books \u2013 the Internet was not yet widespread \u2013 which means that Storm has either picked songs from a limited number of sources, or has had a larger book collection to pick from. I have not been able to find \u2013 even after countless searches on the Norwegian National Library&#8217;s pages \u2013 to find one source that contains all the songs on <em>Nordavind<\/em>, which suggests that they have picked the songs from several sources, without me being able to definitively point out which these are. However, the writing style of some of the songs reveals something about the sources, and it is largely more modern songbooks that have probably been used as sources.<\/p>\n\n\n\n<p><em>Nordavind<\/em> is not available on Spotify or iTunes, but can be listened to on YouTube if you search for it there.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"storm-nordavind-1995\">Storm, <em>Nordavind<\/em> (1995)<\/h4>\n\n\n\n<figure class=\"wp-block-table is-style-regular\"><table><thead><tr><th class=\"has-text-align-center\" data-align=\"center\">#<\/th><th class=\"has-text-align-left\" data-align=\"left\">Song<\/th><th class=\"has-text-align-left\" data-align=\"left\">Written by<\/th><th class=\"has-text-align-left\" data-align=\"left\">Vocals<\/th><th class=\"has-text-align-left\" data-align=\"left\">Length<\/th><\/tr><\/thead><tbody><tr><td class=\"has-text-align-center\" data-align=\"center\">1<\/td><td class=\"has-text-align-left\" data-align=\"left\">Innferd<\/td><td class=\"has-text-align-left\" data-align=\"left\">S. Wongraven<\/td><td class=\"has-text-align-left\" data-align=\"left\">Instrumental<\/td><td class=\"has-text-align-left\" data-align=\"left\">1:36<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">2<\/td><td class=\"has-text-align-left\" data-align=\"left\">Mellom Bakkar Og Berg<\/td><td class=\"has-text-align-left\" data-align=\"left\">S. Wongraven, Ny Trad.<\/td><td class=\"has-text-align-left\" data-align=\"left\">Nagell, Ruesl\u00e5tten, Wongraven<\/td><td class=\"has-text-align-left\" data-align=\"left\">2:43<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">3<\/td><td class=\"has-text-align-left\" data-align=\"left\">Haavard Hedde<\/td><td class=\"has-text-align-left\" data-align=\"left\">S. Wongraven, Trad.<\/td><td class=\"has-text-align-left\" data-align=\"left\">Nagell<\/td><td class=\"has-text-align-left\" data-align=\"left\">3:19<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">4<\/td><td class=\"has-text-align-left\" data-align=\"left\">Villemann<\/td><td class=\"has-text-align-left\" data-align=\"left\">S. Wongraven, Ny Trad.<\/td><td class=\"has-text-align-left\" data-align=\"left\">Nagell, Ruesl\u00e5tten, Wongraven<\/td><td class=\"has-text-align-left\" data-align=\"left\">2:14<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">5<\/td><td class=\"has-text-align-left\" data-align=\"left\">Nagellstev<\/td><td class=\"has-text-align-left\" data-align=\"left\">Herr Nagell<\/td><td class=\"has-text-align-left\" data-align=\"left\">Nagell<\/td><td class=\"has-text-align-left\" data-align=\"left\">1:03<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">6<\/td><td class=\"has-text-align-left\" data-align=\"left\">Oppi Fjellet<\/td><td class=\"has-text-align-left\" data-align=\"left\">S. Wongraven, Ny Trad.<\/td><td class=\"has-text-align-left\" data-align=\"left\">Wongraven<\/td><td class=\"has-text-align-left\" data-align=\"left\">4:02<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">7<\/td><td class=\"has-text-align-left\" data-align=\"left\">Langt Borti Lia<\/td><td class=\"has-text-align-left\" data-align=\"left\">S. Wongraven, Ny Trad.<\/td><td class=\"has-text-align-left\" data-align=\"left\">Nagell, Ruesl\u00e5tten, Wongraven<\/td><td class=\"has-text-align-left\" data-align=\"left\">7:15<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">8<\/td><td class=\"has-text-align-left\" data-align=\"left\">Lokk<\/td><td class=\"has-text-align-left\" data-align=\"left\">Kari Ruesl\u00e5tten<\/td><td class=\"has-text-align-left\" data-align=\"left\">Kari Ruesl\u00e5tten<\/td><td class=\"has-text-align-left\" data-align=\"left\">0:54<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">9<\/td><td class=\"has-text-align-left\" data-align=\"left\">Noregsgard<\/td><td class=\"has-text-align-left\" data-align=\"left\">Herr Nagell, S. Wongraven<\/td><td class=\"has-text-align-left\" data-align=\"left\">Nagell, Ruesl\u00e5tten, Wongraven<\/td><td class=\"has-text-align-left\" data-align=\"left\">8:13<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">10<\/td><td class=\"has-text-align-left\" data-align=\"left\">Utferd<\/td><td class=\"has-text-align-left\" data-align=\"left\">S. Wongraven, Ny Trad.<\/td><td class=\"has-text-align-left\" data-align=\"left\">Instrumental<\/td><td class=\"has-text-align-left\" data-align=\"left\">1:58<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p>First of all, a short comment on the title <em>Nordavind<\/em>. Firstly, it plays well with the name of the band, namely Storm. Secondly, the title has the same aim as Darkthrone&#8217;s title <em>A Blaze In The Northern Sky<\/em> (1992), namely to tell that something new and important comes \/ blows \/ lights up from the north; implicitly the Norse and black metal itself.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"innferd\">Innferd<\/h3>\n\n\n\n<p>&laquo;Innferd&raquo; (Entry\/entrance) is the first song on Nordavind. It has a length of 1:36 minutes, and is an instrumental introduction made by Sigurd &laquo;Satyr&raquo; Wongraven. The sound of a rush, a storm, lies beneath the simple notes made on the synthesizer that make up &laquo;Innferd&raquo;. The storm seems to be near the sea, but is otherwise indeterminate. The sound from the synthesizer has a melancholic sound, which is reinforced by the medium-long notes and the calm tempo, and is similar to the sound found in folk tunes, although it is clear that they are made on a synthetic instrument, and are not indicated as an original folk tune.<\/p>\n\n\n\n<p>As the last note fades away, the next song starts right away with much more punch.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"mellom-bakkar-og-berg\">Mellom bakkar og berg<\/h3>\n\n\n\n<p>The traditional song &laquo;Mellom bakkar og berg&raquo; (Between hills and mountains) is the second song on <em>Nordavind<\/em>. It is a proud tribute to Norway and the tough country that the Norwegian calls home.<\/p>\n\n\n\n<p>In Storm&#8217;s version, the song is 2:43 long. All three, Nagell, Ruesl\u00e5tten and Wongraven are listed as singers. Wongraven is listed as the composer, after the phrase &laquo;Ny Trad.&raquo; This phrase is used several times on <em>Nordavind<\/em> and possibly indicates that it is a traditional folk tune of recent date where the author is known, in contrast to &laquo;Haavard Hedde&raquo; which is marked with &laquo;Trad.&raquo; This should not prove to have been carried out consistently. It is also not the case that the songs where the text has been adjusted have been labeled &laquo;Ny Trad.&raquo;, while those with lyrics that have not been adjusted have been labeled &laquo;Trad.&raquo; The whole thing therefore seems a bit random.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"682\" height=\"1024\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-682x1024.jpg\" alt=\"\" class=\"wp-image-1090\" style=\"width:201px;height:286px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-682x1024.jpg 682w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-200x300.jpg 200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-768x1154.jpg 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-1022x1536.jpg 1022w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-1363x2048.jpg 1363w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-1200x1803.jpg 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-1980x2975.jpg 1980w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Ivaraasen2-scaled.jpg 1704w\" sizes=\"auto, (max-width: 682px) 100vw, 682px\" \/><figcaption class=\"wp-element-caption\">Ivar Aasen (1813\u20131896). Foto: Wikipedia.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"205\" height=\"323\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Lindeman_Ludvig_Mathias.jpg\" alt=\"\" class=\"wp-image-1088\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Lindeman_Ludvig_Mathias.jpg 205w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Lindeman_Ludvig_Mathias-190x300.jpg 190w\" sizes=\"auto, (max-width: 205px) 100vw, 205px\" \/><figcaption class=\"wp-element-caption\">Ludvig Mathias Lindeman (1812\u20131887). Foto: Wikipedia.<\/figcaption><\/figure>\n\n\n\n<p>In this case, it is Ludvig Mathias Lindeman (1812\u20131887) who composed the song that he called &laquo;Mellom bakkar og berg&raquo; in 1871. The melody was composed for the poem &laquo;Nordmannen&raquo; by Ivar Aasen. Aasen wrote five versions of the poem from 1863 before it found its final form in 1875. Aasen himself wanted the melody &laquo;Dei skal alltid klaga og kyta&raquo; (They will always complain and whine) to accompany the poem. He called the poem he set to music &laquo;Nordmannen&raquo; after the poem. Ivar Aasen&#8217;s melody was the most common until the 1960s\u201370s, before Lindeman&#8217;s melody took over. And so it was the one that found its way onto Storm&#8217;s album Nordavind 120 years later.&nbsp;<\/p>\n\n\n\n<p>There are a number of different versions of Ivars Aasen&#8217;s &laquo;Nordmannen&raquo; as mentioned. Some of the verses that were not included in the final version from 1875 have continued to be used. As Norwegian Wikipedia writes:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Some of the lesser-known verses are still used by the Socialist Youth, the Center Youth, the Norwegian M\u00e5l Youth, the Red Youth and Nature and Youth. The last of these verses in particular was used during the referendum on membership in the EU in 1994.<\/p>\n<cite><em>Wikipedia: <a href=\"https:\/\/no.wikipedia.org\/wiki\/Nordmannen\">https:\/\/no.wikipedia.org\/wiki\/Nordmannen<\/a>. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Before we move on to the analysis of the Norwegian text, I will provide a poetic translation of this song as it is reproduced on English Wikipedia.<\/p>\n\n\n\n<pre class=\"wp-block-verse\">The Norwegian<br><br>1. Amidst hills and mountains, out with the sea<br>has the Norwegian founded his home,<br>there, by himself, foundations he dug<br>and by himself, his houses, there built upon.<br><br>2. He looked on to the stoney beaches;<br>there was no one there who had built.<br>\u00abLet us clear and build a homestead,<br>and as such, own the bend ahead.\u00bb<br><br>3. He looked out on to the stormy ocean;<br>there, rough to lay out upon;<br>but there played fish in the ocean,<br>and that play, he wanted to look upon<br><br>4. Into the winter, at times he wondered:<br>Give that I were in a warmer land!<br>But when the spring\u2019s sun on the hills shone,<br>his soul would long for his coastal home<br><br>5. And when mountainsides grow green like gardens,<br>when overcome with flowers, budded on their straws,<br>and when nights are as bright as days,<br>there is no prettier place he ever saw.<sup data-fn=\"97567568-6b0b-42e7-89da-3e2aac65fdc0\" class=\"fn\"><a href=\"#97567568-6b0b-42e7-89da-3e2aac65fdc0\" id=\"97567568-6b0b-42e7-89da-3e2aac65fdc0-link\">28<\/a><\/sup><\/pre>\n\n\n\n<p>So on to the Norwegian text. There are a number of different versions with different spellings that have appeared over the years. I have found a version modernized by Ivar Grimstad og Terje Aarset<sup data-fn=\"cca0720a-39e8-49e6-9bbf-e58013032cd6\" class=\"fn\"><a href=\"#cca0720a-39e8-49e6-9bbf-e58013032cd6\" id=\"cca0720a-39e8-49e6-9bbf-e58013032cd6-link\">29<\/a><\/sup> that fits well with what Nagell, Ruesl\u00e5tten and Wongraven sing.<\/p>\n\n\n\n<p>We quickly notice that Storm has radically changed the penultimate verse, and cut out the fifth and last. What is different between the two texts is marked in bold.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abMellom bakkar og berg\u00bb\nStorm\n\n\nMellom bakkar og berg utmed havet\nheve nordmannen fenge sin heim,\nder han sj\u00f8lv heve tuftene grave\nog sett sj\u00f8lv sine hus opp\u00e5 deim.\n&nbsp;\nHan s\u00e5g ut p\u00e5 dei steinute strender;\ndet var ingen som der hadde bygt.\n\u201dLat oss rydja og byggja oss grender,\nog so eiga me rudningen trygt.\u201d\n&nbsp;\nHan s\u00e5g ut p\u00e5 det b\u00e5rute havet,\nder var ruskut \u00e5 leggja utp\u00e5;\nmen der leikade fisk nedi kavet,\nog den leiken, den ville han sj\u00e5.\n\n<strong>Hill nordmann!<\/strong>\n<strong>Hill nordmann!<\/strong>\n<strong>Hill nordmann!<\/strong>\n\nFram p\u00e5 vetteren stundom han tenkte:\n<strong>Giv eg var her til evig tid<\/strong>\n<strong>Og n\u00e5r nordljoset skinner fr\u00e5 oven<\/strong>\n<strong>blir hans st\u00e5lhjerte fylt med grusomt savn.<\/strong><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abNordmannen\u00bb \/ \u00abMellom bakkar og berg\u00bb&nbsp;\nIvar Aasen \/ Ludvig M. Lindeman\n\nMellom bakkar og berg utmed havet\nheve nordmannen fenge sin heim,\nder han sj\u00f8lv heve tuftene grave\nog sett sj\u00f8lv sine hus opp\u00e5 deim.\n&nbsp;\nHan s\u00e5g ut p\u00e5 dei steinute strender;\ndet var ingen som der hadde bygt.\n\u201dLat oss rydja og byggja oss grender,\nog so eiga me rudningen trygt.\u201d\n&nbsp;\nHan s\u00e5g ut p\u00e5 det b\u00e5rute havet,\nder var ruskut \u00e5 leggja utp\u00e5;\nmen der leikade fisk nedi kavet,\nog den leiken, den ville han sj\u00e5.\n\n\n\n\n\nFram p\u00e5 vetteren stundom han tenkte:\n<strong>Giv eg var i eit varmare land!<\/strong>\n<strong>Men n\u00e5r v\u00e5rsol i bakkane blenkte,<\/strong>\n<strong>fekk han hug til si heimlege strand.<\/strong>\n<strong>&nbsp;<\/strong>\n<strong>Og n\u00e5r liene gr\u00f8nka som hagar,<\/strong>\n<strong>n\u00e5r det laver av blomar p\u00e5 str\u00e5,<\/strong>\n<strong>og n\u00e5r netter er ljose som dagar,<\/strong>\n<strong>kan han ingen stad venare sj\u00e5.<\/strong><\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>Between the third and fourth verses, Storm has inserted three repetitions of the phrase &laquo;Hill Norman!&raquo;. The expression &laquo;hill&raquo; has the same origin as &laquo;heil&raquo; and &laquo;hel&raquo; which originally meant not broken, unharmed, in good condition. These expressions can be used to express a wish for good luck or tribute, as in &laquo;hill deg, konge&raquo;, &laquo;heil Hitler&raquo; or &laquo;Sieg Heil!&raquo; (which means &laquo;hail, victory!&raquo;).<\/p>\n\n\n\n<p>During World War II, Vidkun Quisling introduced what is known as the &laquo;Roman salute&raquo;, with the arm raised at 45 degrees with the palm facing down, while saying &laquo;heil og s\u00e6l&raquo;, which means &laquo;healthy and happy&raquo;. It is again obvious that Storm is toying with dangerous ideological material. This is reinforced by the fact that the phrase &laquo;Hill normann!&raquo; is repeated three times in the lyrics, which was the number of times Hitler demanded that people shout &laquo;Sieg Heil!&raquo; at the large Nazi rallies.<\/p>\n\n\n\n<p>Again, I assume that this exclamation is intended as an old tribute from before it was tainted by fascist ideology, but I can&#8217;t find any use of &laquo;hill&raquo; or &laquo;heil&raquo; or &laquo;hail&raquo; in Snorri&#8217;s <em>Heimskringla<\/em>. There are, however, two instances of &laquo;Hill deg, konge&raquo; in a Norwegian translation of J. R. R. Tolkiens <em>Lord of the Rings<\/em> volume <em>The Return of the King<\/em>. And Tolkien has had a great influence on the Norwegian black metal universe of ideas.<\/p>\n\n\n\n<p>Nagell&#8217;s solo project Isengard is named after Tolkien&#8217;s fictional place Isengard, more recently translated as &laquo;Jarnagard&raquo; in Norwegian, which means an enclosure of iron. Isengard is located on the outskirts of Rohan, and consists of a large ring of stone with the tall tower Orthanc in the center. Here lives the wizard Saruman, who has gone over to the evil enemy Sauron. Isengard is interpreted as an industrialized hell to illustrate the homogeneity of evil in contrast to the freer natural societies of Middle-earth.<sup data-fn=\"2a7ab8be-f512-4991-ae48-0c1ec6d4f187\" class=\"fn\"><a href=\"#2a7ab8be-f512-4991-ae48-0c1ec6d4f187\" id=\"2a7ab8be-f512-4991-ae48-0c1ec6d4f187-link\">30<\/a><\/sup><\/p>\n\n\n\n<p>That Storm&#8217;s &laquo;Hill nordmann!&raquo; is a respectful greeting to the Norwegian is beyond any doubt, but that it is also added to provoke seems reasonable to think.<\/p>\n\n\n\n<p>Storm chooses to use only the first line of Ivar Aasen&#8217;s penultimate verse, the one called &laquo;Fram p\u00e5 vetteren stundom han tenkte:&raquo; (Into the winter, at times he wondered:), before adding three new lines of their own: &laquo;Giv eg var her til evig tid \/ Og n\u00e5r nordljoset skinner fr\u00e5 oven \/ blir hans st\u00e5lhjerte fylt med grusomt savn&raquo; (If only I were here forever \/ And when the northern lights shine from above \/ his steel heart is filled with cruel longing).<\/p>\n\n\n\n<p>These lines replace Aasen&#8217;s longing for southern regions and warmth, as well as what makes him think differently, namely the bright days of the northern spring with flowers and greening grass. The black metallers in Storm couldn&#8217;t have a longing for the light. The Northern Lights and cold are more than enough, and fit much better into their ideological universe.<\/p>\n\n\n\n<p>But what is the real longing that fills the Norwegian&#8217;s steel heart, according to Storm? It seems to be the longing for the true and proud earthbound life prior to the takeover of Christianity and the subsequent alienation of the Norse tradition. Here we dive right into what is called black metal millenarianism, a belief in a previous golden age for the true pagan Norwegian that one longs to return to and wants to restore.<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"400\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3340072-1360077116-1919.jpg\" alt=\"\" class=\"wp-image-1095\" style=\"width:300px;height:300px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3340072-1360077116-1919.jpg 400w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3340072-1360077116-1919-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-3340072-1360077116-1919-150x150.jpg 150w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption class=\"wp-element-caption\">Glittertind, <em>Evige Asatro<\/em> (2004). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The band Glittertind, which was a solo project at the time, has also recorded a folk metal version of &laquo;Mellom bakkar og berg&raquo;. Torbj\u00f8rn Sandvik uses Ivar Aasen&#8217;s lyrics, but repeats the first verse at the end of the song, and Aasen&#8217;s original title &laquo;Nordmannen&raquo; on the release <em>Evige Asatro<\/em> (2004). Glittertind also uses Lindeman&#8217;s melody, and not Aasen&#8217;s preferred &laquo;Dei skal alltid klaga og kyta&raquo;. We can probably say with great certainty that Glittertind&#8217;s version probably won&#8217;t come out that well given Nagell&#8217;s strict definition of what is good folk metal and what is bad folk metal. Glittertind&#8217;s version is a somewhat soulless heavy rock version of the folk tune. But then you&#8217;re always going to complain and whine.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"haavard-hedde\">Haavard Hedde<\/h3>\n\n\n\n<p>&laquo;Haavard Hedde&raquo; is the third song on Storms <em>Nordavind<\/em>. In Storm&#8217;s version, it is 3:19 long, and has Nagell on vocals. The source of the music is given as &laquo;Trad.&raquo; in addition to the work Wongraven has done with adaptations to modern instruments. This folk song is also widely known, and sung by many at school. I myself remember it made a big impression on me. The melody is an old folk melody with no stated origin, but the text is possibly written by H\u00e5vard Hedde himself, or Haavard Folkesson Helle as his name was. &laquo;Helle&raquo; is pronounced &laquo;Hedde&raquo; in Vallem\u00e5l, the language they spoke in his birthplace in Valle parish in Setesdal.<\/p>\n\n\n\n<p>Haavard was born in 1758 and died in 1802. He drowned in the north of Bygland when he was on his way to visit the girl he once proposed to and who chose another over him. And it is precisely this tragic aspect of H\u00e5vard&#8217;s life that the folk song depicts. Or as Landstad (1853) writes:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The ballad describes a true incident. H\u00e5vard Helle, a man from Setesdal, was so deeply affected by his beloved preferring another over him that he subsequently, as the story goes, became an unhappy man.<\/p>\n<cite>Landstad (1853), p. 724. My translation.<\/cite><\/blockquote>\n\n\n\n<p>There is one more thing that is interesting about events in Haavard Folkesson Helle&#8217;s life in this context. He was enlisted in the 2nd R\u00e5byggelag Company of the 1st Vesterlen Infantry Regiment in 1778. From the same source, we know that he deserted on September 19, 1788. After ten years of service, Haavard thus left the company to work in forestry in Krager\u00f8, and did so without the captain&#8217;s permission. At that exact time, the company was about to march to Sweden to participate in the so-called Lingonberry War or Theatre War, the unflattering names for a campaign where Denmark-Norway attempted to invade Sweden in 1788.<sup data-fn=\"f48ee3b5-83d7-4e01-b9fe-7c13ae64c532\" class=\"fn\"><a href=\"#f48ee3b5-83d7-4e01-b9fe-7c13ae64c532\" id=\"f48ee3b5-83d7-4e01-b9fe-7c13ae64c532-link\">31<\/a><\/sup> It is quite interesting that in both &laquo;Sinclairsvise&raquo; and &laquo;H\u00e5vard Hedde,&raquo; a military campaign to Sweden is involved.<sup data-fn=\"2d05aa9c-5192-4175-bd48-bcc77561c7e7\" class=\"fn\"><a href=\"#2d05aa9c-5192-4175-bd48-bcc77561c7e7\" id=\"2d05aa9c-5192-4175-bd48-bcc77561c7e7-link\">32<\/a><\/sup><\/p>\n\n\n\n<p>Here is first an English translation of the song:<\/p>\n\n\n\n<pre class=\"wp-block-verse\">My name is H\u00e5vard Hedde<br>And I'm a handsome boy<br>Now I want to get married<br>And build myself a farm<br>\u2013 I live underneath a mountain<br>I dearly love my girl<br>And I won't let her down<br><br>My name is H\u00e5vard Hedde<br>I live close under a mountain<br>Now I want to get married<br>I won't live alone anymore<br>\u2013 I live ... [Repeat chorus]<br><br>Yes, the farm is small<br>But the wood is good<br>There I have two firs<br>And they shall not be touched<br>\u2013 I live ... [Repeat chorus]<br><br>When the children get numerous<br>And the debts are increasing<br>Then I'll cut the one tree down<br>The other one I'll leave alone<br>\u2013 I live ... [Repeat chorus]<br><br>But when we are getting old<br>And everything should be settled<br>Then I'll cut down the other tree<br>And then all debt will be done with<br>\u2013 I live ... [Repeat chorus]<br><br>No wonder<br>That H\u00e5vard's spirits fell low<br>He left Lanjei<br>In the dark autumn night<br>\u2013 I live ... [Repeat chorus]<br><br>He left Lanjei<br>And then the girl was engaged<br>But that was to another man<br>That's what caused him so deep a sorrow<br>\u2013 I live ... [Repeat chorus]<\/pre>\n\n\n\n<p>There are many Norwegian versions of this folk song with a varying number of verses, as well as different versions written according to various orthographic standards. In several places, it is also titled &laquo;E heiter H\u00e5vard Hedde&raquo; rather than just &laquo;H\u00e5vard Hedde.&raquo; The version that most closely resembles the one used by Storm can be found in Askeland, Askeland &amp; Knudsen (1986), p. 148. The final line of the last chorus is particularly worth noting, as it deviates from the final line of the other choruses in this version: &laquo;she betrayed me nonetheless.&raquo; Storm repeats this line once more at the end of their version. Otherwise, Storm&#8217;s version is identical to the reference version.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abHaavard Hedde\u00bb\nStorm\n\nEg heiter H\u00e5vard Hedde og er so ven ein kar; no vil eg bort og gifta meg og rydja meg ein gard.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nEg heiter H\u00e5vard Hedde og bur oppunder nut; no vil eg bort og gifta meg, eg vil kje ganga gut.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n&nbsp;\nGarden den er liten, men skogen, den er god; der heve eg to furer, og dei skal st\u00e5 i ro.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nN\u00e5r borni dei vert mange, og skuldi aukar p\u00e5, so h\u00f8gg eg ned den eine, den andre ho lyt st\u00e5.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nMen n\u00e5r me verte gamle, og kvar skal hava sitt,\ns\u00e5 h\u00f8gg eg ned den andre, og d\u00e5 er skogen kvitt.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nDet var no ikkje undrands at H\u00e5vard totte vondt. Han reiste ifr\u00e5 Lanjei den m\u00f8rke haustenott.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nHan reiste ifr\u00e5 Lanjei, og d\u00e5 var jenta fest,\nmen det var med ein annan, det hev han trega mest.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova \u2013 ho sveik meg likevel.\n\n<strong>Ho sveik meg likevel.<\/strong><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abH\u00e5vard Hedde\u00bb\nFolkevise\n\nEg heiter H\u00e5vard Hedde og er so ven ein kar; no vil eg bort og gifta meg og rydja meg ein gard.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nEg heiter H\u00e5vard Hedde og bur oppunder nut; no vil eg bort og gifta meg, eg vil kje ganga gut.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n&nbsp;\nGarden den er liten, men skogen, den er god; der heve eg to furer, og dei skal st\u00e5 i ro.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nN\u00e5r borni dei vert mange, og skuldi aukar p\u00e5, so h\u00f8gg eg ned den eine, den andre ho lyt st\u00e5.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nMen n\u00e5r me verte gamle, og kvar skal hava sitt,\ns\u00e5 h\u00f8gg eg ned den andre, og d\u00e5 er skogen kvitt.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nDet var no ikkje undrands at H\u00e5vard totte vondt. Han reiste ifr\u00e5 Lanjei den m\u00f8rke haustenott.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova, eg svik ho ikkje hell.\n\nHan reiste ifr\u00e5 Lanjei, og d\u00e5 var jenta fest,\nmen det var med ein annan, det hev han trega mest.\n\u2013 Eg bur oppunder fjell, og jenta hev eg lova \u2013 ho sveik meg likevel.<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>It is difficult to say why Storm chose to include this folk song on <em>Nordavind<\/em>. They likely place more emphasis on the fact that H\u00e5vard Hedde lived at the foot of the mountains than on him being betrayed by his sweetheart. The dream he carries is once again down-to-earth and quintessentially Norwegian, while also serving as a description of the passage of life. And yet, he is still betrayed.<\/p>\n\n\n\n<p>At the same time, it is possible to take the interpretation further and view this treacherous girl as a personification of Christianity. In this interpretation, it is Christianity that betrays the Norwegian clinging to the mountain peak, who does not achieve the life he dreams of. Christianity takes from him the life he wanted for himself.<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"598\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-498669-1264190609.jpg\" alt=\"\" class=\"wp-image-1099\" style=\"width:300px;height:299px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-498669-1264190609.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-498669-1264190609-300x300.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-498669-1264190609-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">SunnO))), <em>White1<\/em> (2003). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>&laquo;H\u00e5vard Hedde&raquo; has also been recorded by the experimental metal and electronic band Sunn O))) under the title &laquo;The Gates of Ballard&raquo; on the 2003 release <em>White1<\/em>. The &laquo;Ballard&raquo; in &laquo;The Gates of Ballard&raquo; likely refers to the science fiction author J. G. Ballard. However, what this Ballard has to do with the fate of H\u00e5vard Hedde will have to be the subject of a future article. It is interesting that Sunn O))) pronounces both &laquo;heiter&raquo; and &laquo;ven&raquo; in the same idiosyncratic way as Nagell does on Storm&#8217;s version. He incorrectly pronounces them as &laquo;heit<strong>a<\/strong>r&raquo; and &laquo;ve<em>i<\/em>n,&raquo; and Sunn O))) does the same, even though the lyrics provided on the release&#8217;s Bandcamp page are written correctly.<sup data-fn=\"efedd294-6d48-43ce-b479-2cc126e99c8b\" class=\"fn\"><a href=\"#efedd294-6d48-43ce-b479-2cc126e99c8b\" id=\"efedd294-6d48-43ce-b479-2cc126e99c8b-link\">33<\/a><\/sup> This suggests that Sunn O))) has definitely listened to and referenced Storm&#8217;s version.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"villemann\">Villemann<\/h3>\n\n\n\n<p>The fourth track on <em>Nordavind<\/em> is &laquo;Villemann,&raquo; which is 2:14 minutes long. Nagell, Wongraven, and Ruesl\u00e5tten provide vocals on the song. It is labeled as &laquo;Ny Trad.&raquo; in the <em>Nordavind<\/em> booklet, with an addition by Wongraven. It is also an old medieval ballad that goes by many names and reportedly exists in over 100 variations. The labeling of the song as &laquo;Ny Trad.&raquo; deviates from the hypothesis that this indicates the song has a known author, which in this case it does not.<\/p>\n\n\n\n<p>The song is also known by the titles &laquo;Gaute and Magnhild&raquo;, &laquo;Gudmund and Signeliti&raquo;, and &laquo;Harpespelet tvingar nykken&raquo; (The Harp Playing Compels the Nix). It is most commonly known as &laquo;Villemann and Magnhild&raquo; or &laquo;Villemann and Magnill&raquo;, but rarely just &laquo;Villemann&raquo; as on <em>Nordavind<\/em>.<sup data-fn=\"2b8281f5-0954-416a-a57a-12a065412cec\" class=\"fn\"><a href=\"#2b8281f5-0954-416a-a57a-12a065412cec\" id=\"2b8281f5-0954-416a-a57a-12a065412cec-link\">34<\/a><\/sup> We might wonder whether it is intentional that Storm has shifted the focus away from the woman in this story.<\/p>\n\n\n\n<p>&laquo;Villemann and Magnhild&raquo; is a nature-mythical ballad, as we can read in Solberg (1999), p. 201:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The ballad tells the story of a young girl named Magnhild who &laquo;lets down her hair,&raquo; signifying that she is about to be married, but who weeps because fate has decreed that she will fall into the river and drown. Her fianc\u00e9, Villemann\u2014who is called Gaute in some versions of the ballad\u2014tells her she can feel safe. He promises to build a bridge on pillars of lead and steel, and his soldiers will guard her as they ride to the wedding feast. However, in the middle of the bridge, the horse stumbles, and Magnhild falls into the river, just as fate foretold. Then Villemann sends for his harp and plays so powerfully that nature itself is moved, forcing the neck to release both Magnhild and her two sisters who had previously drowned.<\/p>\n<cite><em>Solberg (1999), pp. 201\u2013202. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>So a wedding is to be held between the two lovers, Magnhild and Villemann, but Magnhild does nothing but weep. She says she will fall into the river and die, for it has been foretold.<\/p>\n\n\n\n<p>Central to this story is the belief in fate. The neck represents an evil fate. He is known for being particularly dangerous to young people in the transition from childhood to adulthood. Using a magic harp \u2013 a symbol drawn from the Greek myth of Orpheus and Eurydice \u2013 Villemann succeeds in playing his beloved out of the neck\u2019s arms. &laquo;Furthermore, the river represents paganism and death, an unconsecrated graveyard,&raquo; writes Solberg in my translation.<\/p>\n\n\n\n<p>Solberg employs the literary concept of the splitting of the self to analyze what he believes takes place in the ballad on several levels. Magnhild has two sisters whom the neck has already taken. These can be seen as two immature and failed versions of herself. At the same time, Villemann and the neck can be viewed as two versions of her image of man.<\/p>\n\n\n\n<p>The neck expresses a type of forbidden love that must be suppressed, while the love for Villemann is lawful and socially accepted. Villemann is rich in property and gold, but this is of no help against the neck. The harp and the music, however, are; they serve as symbols of submission and self-sacrificing love. The bridge Magnhild must cross is a symbol of the transition from childhood and carefree playfulness to marriage and a stable life together. Her two sisters \u2013 representing her former selves \u2013 allowed themselves to be lured by forbidden love (the neck) and were unwilling to commit.<\/p>\n\n\n\n<p>As in all rites of passage where much is at stake, the transition from an unmarried to a married woman was considered a vulnerable period in folklore, and the road to the church where the wedding was to take place was populated by beings that could harm the bride. In this case, it is the neck who poses the danger. It is easy to read into Magnhild\u2019s weeping her fear of not being happy and of not being able to remain faithful to her future husband, but instead falling for the temptation of other men.<\/p>\n\n\n\n<p>The version recorded by Storm differs from the one most frequently printed in Norway.<sup data-fn=\"10a02177-40b2-47ca-8015-67f7c91e8eb5\" class=\"fn\"><a href=\"#10a02177-40b2-47ca-8015-67f7c91e8eb5\" id=\"10a02177-40b2-47ca-8015-67f7c91e8eb5-link\">35<\/a><\/sup> The role of the runes is particularly different in this version. It states: &laquo;For de runerne de lyster han \u00e5 vinne&raquo; (For those runes he desires to win). This line functions as a refrain and is repeated after each verse in this version, but not in the most common version.<\/p>\n\n\n\n<p>Espeland, Ressem &amp; Pr\u00f8ysen (2010) point out that in the language of ballads, runes signify magical arts. Villemann thus wishes to take over the neck&#8217;s seductive sorcery, and he does so by enchanting the neck with music.<\/p>\n\n\n\n<p>According to Espeland, Ressem &amp; Pr\u00f8ysen (2010), Grundtvig created a restoration of this ballad and composed a new verse, the final one. This was then included in Ole Vig&#8217;s book <em>Sange og Rim for det norske Folk<\/em> (1854), and it has been part of the tradition ever since.<\/p>\n\n\n\n<p>Storm adheres strictly to the wording of the version I have found.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00ab<strong>Villemann<\/strong>\u00bb\nStorm\n\nVillemann gjekk seg te storan \u00e5\nHei fagraste lindelauvi alle\nDer han ville gullharpa sl\u00e5\nFor de runerne de lyster han \u00e5 vinne\n\nVillemann gjenge for straumen \u00e5 st\u00e5\nHei fagraste lindelauvi alle\nMesterleg kunne han gullharpa sl\u00e5\nFor de runerne de lyster han \u00e5 vinne\n\nHan leika med lente, han leika med list\nHei fagraste lindelauvi alle\nOg fugelen tagna p\u00e5 gr\u00f8nande kvist\nFor de runerne de lyster han \u00e5 vinne\n\nHan leika med lente, han leika med gny\nHei fagraste lindelauvi alle\nHan leika Magnhild av nykkens arm\nFor de runerne de lyster han \u00e5 vinne\n\nMen d\u00e5 steig trolli upp or djupaste sj\u00f8\nHei fagraste lindelauvi alle\nDet gjalla i berg og det runga i sky\nFor de runerne de lyster han \u00e5 vinne\n\nD\u00e5 slo han si harpe til bonns i sin harm\nHei fagraste lindelauvi alle\nOg utvinner krafti av trollenes arm\nFor de runerne de lyster han \u00e5 vinne<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abVillemann og Magnhild\u00bb\nFolketone\n\nVillemann gjekk seg te storan \u00e5\nHei fagraste lindelauvi alle\nDer han ville gullharpa sl\u00e5\nFor de runerne de lyster han \u00e5 vinne\n\nVillemann gjenge for straumen \u00e5 st\u00e5\nHei fagraste lindelauvi alle\nMesterleg kunne han gullharpa sl\u00e5\nFor de runerne de lyster han \u00e5 vinne\n\nHan leika med lente, han leika med list\nHei fagraste lindelauvi alle\nOg fugelen tagna p\u00e5 gr\u00f8nande kvist\nFor de runerne de lyster han \u00e5 vinne\n\nHan leika med lente, han leika med gny\nHei fagraste lindelauvi alle\nHan leika Magnhild av nykkens arm\nFor de runerne de lyster han \u00e5 vinne\n\nMen d\u00e5 steig trolli upp or djupaste sj\u00f8\nHei fagraste lindelauvi alle\nDet gjalla i berg og det runga i sky\nFor de runerne de lyster han \u00e5 vinne\n\nD\u00e5 slo han si harpe til bonns i sin harm\nHei fagraste lindelauvi alle\nOg utvinner krafti av trollenes arm\nFor de runerne de lyster han \u00e5 vinne<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>We should remember, as Mentz Schulerud says in an old NRK radio recording, that:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Nature\u2019s great, dangerous fiddler, that is our neck \u2013 just as Pan was for the Greeks. In legend, the neck is the master teacher; the fiddler goes to him to capture the melody, but many are those enchanted by his beguiling, beckoning strings, allowing themselves to be swept away into the current, down into his watery realm. Yet the legend also tells of the master musician, the one who has overheard the neck\u2019s playing and now creates melodies that surpass those of his teacher; in the folk ballad, this master musician is called Villemann.<\/p>\n<cite><em>From the radio program De ni muser &#8211; Euterpe. Et program om musikkens og sangens muse (The Nine Muses &#8211; Euterpe. A program about the muse of music and song). Broadcasted on NRK Radio, May 3, 1953.<\/em><\/cite><\/blockquote>\n\n\n\n<p>The neck is thus both the master and the one overcome by the apprentice. There is no doubt that there is something distinctly erotic about this. It is also intriguing when we remind ourselves that Wongraven\u2019s stage name is Satyr, and that Pan in Greek mythology was accompanied by satyrs. A desire to enchant through music is therefore clearly present in Storm.<\/p>\n\n\n\n<p>Nevertheless, this interpretation of why Storm included &laquo;Villemann&raquo; on <em>Nordavind<\/em> seems somewhat thin. Perhaps it was the runes \u2013 that is, the sorcery \u2013 and the interaction with the trolls (the neck) and their magic that appealed to Nagell and Wongraven, far more than Magnhild\u2019s rite of passage from an unmarried to a married woman. This may also explain why Magnhild has largely been removed from their narrative, appearing only as a minor prize in the interplay with mythical nature.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"nagellstev\">Nagellstev<\/h3>\n\n\n\n<p>The fifth track on Nordavind is the 1:03-minute-long &laquo;Nagellstev&raquo;. As the title indicates, this is Gylve Fenris Nagell&#8217;s musical work, and he performs the vocals himself. However, he did not write the lyrics himself; they are taken from &laquo;Aagots Fjeldsang&raquo; (Aagot\u2019s Mountain Song), which was written by Henrik Anker Bjerregaard (1790\u20131828).<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"275\" height=\"352\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Waldemar_Thrane.png\" alt=\"\" class=\"wp-image-1107\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Waldemar_Thrane.png 275w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Waldemar_Thrane-234x300.png 234w\" sizes=\"auto, (max-width: 275px) 100vw, 275px\" \/><figcaption class=\"wp-element-caption\">Waldemar Thrane (1790\u20131828). Foto: Wikipedia.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"657\" height=\"802\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Henrik_Anker_Bjerregaard_OB.00109.jpg\" alt=\"\" class=\"wp-image-1106\" style=\"width:299px;height:371px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Henrik_Anker_Bjerregaard_OB.00109.jpg 657w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Henrik_Anker_Bjerregaard_OB.00109-246x300.jpg 246w\" sizes=\"auto, (max-width: 657px) 100vw, 657px\" \/><figcaption class=\"wp-element-caption\">Henrik Anker Bjerregaard (1792\u20131842). Foto: Wikipedia.<\/figcaption><\/figure>\n\n\n\n<p>&laquo;Aagot&#8217;s Mountain Song&raquo; is part of the two-act singspiel <em>Fjeldeventyret<\/em> (The Mountain Adventure), with music by Waldemar Thrane (1792\u20131842) and lyrics by Henrik Anker Bjerregaard. The piece was first performed in Oslo in 1825.<sup data-fn=\"675f581d-c45e-4408-942c-051afb0cc33f\" class=\"fn\"><a href=\"#675f581d-c45e-4408-942c-051afb0cc33f\" id=\"675f581d-c45e-4408-942c-051afb0cc33f-link\">36<\/a><\/sup><\/p>\n\n\n\n<p>The plot of the play unfolds as a classic comedy of errors. Roaming thieves are in the neighborhood, and Deputy Sheriff Mons \u00d8stmoe gathers a group of farmers to arrest them. The sheriff\u2019s daughter, Marie, has little respect for her father, the sheriff, viewing him as a boastful, selfish coward. At the end of the first act, the setting is a mountain pasture where the milkmaid Aagot calls to her cows by singing &laquo;Aagots Fjeldsang&raquo;. At the same time, three students \u2013 Albek, Finberg, and Hansen \u2013 descend from the mountains. They are attacked by the farmers, who believe they are the roaming thieves. When the students realize they have been mistaken for scoundrels, they decide to play along and allow themselves to be arrested. Together with Aagot, they are taken to the lockup.<\/p>\n\n\n\n<p>In the second act, the sheriff is very pleased that Deputy Mons has caught the thieves. However, the sheriff&#8217;s daughter Marie is distraught to see the student Albek among those arrested, as she is in love with him. Albek lets her in on the joke, and she promises not to reveal it. The local magistrate arranges for the prisoners to be interrogated. First up is Finberg, who says his name is Ole and that he comes from the highlands. The magistrate\u2019s conclusion is obvious: this must be the master thief Ole H\u00f8iland! However, the magistrate is shocked when Albek steps forward, for Albek is his own nephew. The entire prank is now revealed. The students then threaten to sue the sheriff and his deputy unless Albek is allowed to marry the sheriff\u2019s daughter, Marie. He is granted his wish. Their happiness increases when the sheriff also announces that his niece, Ragnhild, will marry Mons.<sup data-fn=\"0c37237f-5a8d-4bb5-b381-c7e72be700fe\" class=\"fn\"><a href=\"#0c37237f-5a8d-4bb5-b381-c7e72be700fe\" id=\"0c37237f-5a8d-4bb5-b381-c7e72be700fe-link\">37<\/a><\/sup><\/p>\n\n\n\n<p>The music for <em>Fjeldeventyret<\/em> is primarily of an international character, and it is only in the aria &laquo;Aagots Fjeldsang&raquo; that the national element becomes evident.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00ab<strong>Nagellstev<\/strong>\u00bb\nStorm\n\n<strong>Eg steve s\u00e5<\/strong>\n\n<strong>Sole<\/strong> g\u00e5r bak \u00c5se ne\nSkuggan blir s\u00e5 <strong>lange<\/strong>\n<strong>Natta<\/strong> kjem snart <strong>att<\/strong>\n<strong>tekje<\/strong> meg <strong>i fange<\/strong>\n<strong>Kr\u00f8tteret<\/strong> uti <strong>kveen<\/strong> st\u00e5r:\neg \u00e5t <strong>seterst\u00f8le<\/strong> g\u00e5r.\n\n<strong>M\u00f8rkt det er i<\/strong> kvar ei Bygd\n<strong>i dei<\/strong> djupe <strong>daler<\/strong>\nher p\u00e5 <strong>fjell har sole<\/strong> drygd\nmed \u00e5 g\u00e5 te Gare,\ntest eg kvile <strong>under<\/strong> Tak;\n<strong>Morgo er<\/strong> ho <strong>tidleg<\/strong> vak.\n\nSnart eg <strong>gjer ho<\/strong> klar i <strong>kveld<\/strong>,\nS\u00e5 g\u00e5r <strong>eg til<\/strong> Kvile<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00ab<strong>Aagots fjeldsang<\/strong>\u00bb<br>Henrik Anker Bjerregaard&nbsp;<br><br><br><br>Sola g\u00e5r bak \u00c5se ne<br>Skuggan bli s\u00e5 langje.<br>Notta kjem snart atteve,<br>t\u00e6ke meg ti Fangje.<br>Krytran uti Kvien st\u00e5r:<br>eg \u00e5t S\u00e6ter-stuli g\u00e5r.<br><br>Myrkt de \u00e6 ti kvar ei Bygd,<br>ti de djupe Dale;<br>her p\u00e5 Fjeld ha Sola drygd<br>me \u00e5 g\u00e5 t\u00e5 Gare,<br>test eg kvile onde Tak;<br>Morg\u00e5 \u00e6 ho tile vak.<br><br>Snart eg \u00e6 no klar i Kv\u00e6ld,<br>s\u00e5 g\u00e5r e te Kvile,<br><strong>s\u00f8v s\u00e5 roleg onde Feld<br>test i Morg\u00e5 tile;<br>n\u00e5r eg da ha somna in,<br>dr\u00f8jme eg om Guten min.<\/strong><\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>If you listen to Kirsten Flagstad singing &laquo;Aagots Fjeldsang&raquo; on the release <em>Kirsten Flagstad, Vol. 1: The Early Recordings 1914-1941<\/em> (1995), her melody is completely different from the one Nagell performs.<\/p>\n\n\n\n<p>Nagell calls his version of &laquo;Aagots Fjeldsang&raquo; a stev. It is not, according to the criteria established for what constitutes a stev, in either its old or new form. According to the Great Norwegian Encyclopedia, the criteria are as follows:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>In Norway, the term &laquo;stev&raquo; is now primarily used to refer to a single four-line stanza, often lyrical in nature. There are two types: old stev and new stev. In the old stev, the first and third lines rhyme; the new stev has longer lines that are linked in pairs \u2013 the first two with a feminine rhyme and the last two with a masculine rhyme.<\/p>\n<cite><em>Great Norwegian Encyclopedia: <a href=\"https:\/\/snl.no\/stev\">https:\/\/snl.no\/stev<\/a>. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>In Bjerregaard&#8217;s original version, end rhyme is used, but here the first and third lines rhyme, as do the second and fourth lines \u2013 both being feminine rhymes \u2013 before the fifth and sixth lines rhyme in a masculine rhyme. The original also has six rather than four lines in each stanza. Therefore, as far as I can judge, the original is not a <em>stev<\/em> and is likely more accurately described \u2013 as the title indicates \u2013 as a song. In Nagell&#8217;s version, the rhymes are broken in several places because the pronunciation of various words does not follow the original text.<\/p>\n\n\n\n<p>The Great Norwegian Encyclopedia claims that the original &laquo;Aagots Fjeldsang&raquo; is a <em>lokk<\/em> (cattle call). Incidentally, it is the first time a Norwegian composer has used a cattle call in a classical composition. I do not think it sounds like a typical cattle call because the cows are already in an enclosure and are not being called anywhere. A cattle call is defined as a song or shout used to summon livestock.<sup data-fn=\"45f06183-f43d-44fb-bd67-7556634a59b8\" class=\"fn\"><a href=\"#45f06183-f43d-44fb-bd67-7556634a59b8\" id=\"45f06183-f43d-44fb-bd67-7556634a59b8-link\">38<\/a><\/sup> The only thing that appeals is likely the simple life on the mountain farm and Aagot\u2019s longing for her boyfriend.<\/p>\n\n\n\n<p>Nagell&#8217;s lyrics deviate somewhat from the original. Aside from the fact that the last four lines have been removed, the deviations are mostly minor linguistic errors. Particularly egregious is the error in the second line of the final verse, where the original says, &laquo;Snart eg \u00e6 no klar i Kv\u00e6ld,&raquo; while Nagell sings, &laquo;Snart eg <strong>gjer ho<\/strong> klar i <strong>kveld<\/strong>.&raquo; The original meaning is intended to be that Aagot is ready for the evening, rather than the sun, which the &laquo;ho&raquo; (her) in Nagell&#8217;s version must refer back to. It makes little sense for Aagot to be making the sun ready. It might be easier to grasp the meaning of the song if I modernize the language somewhat, and translate it to English.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abAagots fjeldsang\u00bb<br>Henrik Anker Bjerregaard (modernized by Helge Kaasin)<br><br>Solen g\u00e5r ned bak \u00e5sen<br>Skyggene blir s\u00e5 lange.<br>Natta kommer snart tilbake,<br>tar meg til fange.<br>Kuene st\u00e5r i innhegningen:<br>jeg g\u00e5r til seteren.<br><br>M\u00f8rkt er det i hver bygd,<br>i de dype dalene;<br>her p\u00e5 fjellet har solen dr\u00f8yd<br>med \u00e5 g\u00e5 ned,<br>til jeg hviler under tak;<br>I morgen er hun tidlig v\u00e5ken.<br><br>Snart er jeg klar for kvelden,<br>s\u00e5 g\u00e5r jeg til hvile,<br>sover s\u00e5 roleg under fjell<br>til i morgen tidlig;<br>n\u00e5r jeg da har sovnet inn,<br>dr\u00f8mmer jeg om gutten min.<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\"><br><br><br><br><br>The sun is setting behind the hill,<br>And the shadows are growing long.<br>Night will be here soon,<br>Closing in around me.<br>The cows are in the paddock;<br>I\u2019m walking back to the mountain farm.<br><br>It\u2019s dark in all the villages<br>And down in the deep valleys,<br>But the sun lingered here on the mountain<br>A little longer before setting.<br>I\u2019ll soon be resting under my roof;<br>Tomorrow, she\u2019ll be up early again.<br><br>I\u2019m getting ready for the evening,<br>And then I\u2019ll head to bed,<br>To sleep peacefully beneath the mountains<br>Until the morning comes.<br>Once I\u2019ve fallen fast asleep,<br>I\u2019ll be dreaming of my boy.<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>But after all this, we must ask ourselves: Why on earth has &laquo;Aagots Fjeldsang&raquo; found its way into Storm&#8217;s <em>Nordavind<\/em>?<\/p>\n\n\n\n<p>Firstly, in Nagell\u2019s version \u2013 where the woman Aagot and her dream of her lover have been removed, and the narrative voice replaced by Nagell himself \u2013 it appears as though it has become a pure pastoral; a poem of praise for the simple life up in the mountains where the light of knowledge resides, high above the dark valleys. Thus, it may seem that \u201cNagellstev\u201d is a poem about how the person who has ascended the mountain finds a wisdom that the ordinary people down in the valley do not possess. Like Nietzsche\u2019s sage Zarathustra. This interpretation aligns well with black metal\u2019s self-glorification and solitary knowledge of the true path.<\/p>\n\n\n\n<figure class=\"wp-block-image alignright size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"163\" height=\"252\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Kristofer_Janson.jpg\" alt=\"\" class=\"wp-image-1113\"\/><figcaption class=\"wp-element-caption\">Kristofer Janson (1841\u20131917). Foto: Wikipedia.<\/figcaption><\/figure>\n\n\n\n<p>The sun \u2013 as the light of knowledge \u2013 sets later on the mountain than down in the valley, and the cows are in their enclosure, as the good darkness of black metal\u2019s inverted worldview returns and the milkmaid \u2013 the black metal character \u2013 can finally go to rest.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"oppi-fjellet\">Oppi fjellet<\/h3>\n\n\n\n<p>Now we have come to the sixth track on <em>Nordavind<\/em>, and the heart of the conflict in the controversy between Kari Ruesl\u00e5tten and Wongraven\/Nagell. &laquo;Oppi fjellet&raquo; (Up in the mountains) is 4:02 long. The music is presented as &laquo;New trad.&raquo; and is based on a folk tune that was one of the most popular during the 19th century. Wongraven provides the vocals. However, the lyrics are not the same as those Kristofer Janson (1841\u20131917) wrote and published as a 20-year-old for the first time in Studenterblade on April 20, 1861. At the time, the poem was titled &laquo;Paa fjellet,&raquo; which is what the song is usually called, only modernized to &laquo;P\u00e5 fjellet&raquo; (In the mountains).<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00ab<strong>Oppi Fjellet<\/strong>\u00bb\nStorm\n\n<strong>Eg h\u00f8yrde vindsuset kalle meg<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n<strong>Den tok meg vekk i fra folksam gard<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>Og om dykk ikkje har h\u00f8rt det f\u00f8r<\/strong>\n<strong>Eg blir i Norges land eg til eg d\u00f8r<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>Her i v\u00e5rt rike er alt v\u00e5rt savn<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n<strong>Kring masse skoger vi sl\u00e5r v\u00e5r favn<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>Og er det nokon som ikkje ser<\/strong>\n<strong>Kvifor vi alltid til mor Noreg ber<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>Ja, berg og gr\u00e5stein det eter vi<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n<strong>Vi skjems av bl\u00e5menn, vi g\u00e5r i hi<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>Og friske elva den er for oss<\/strong>\n<strong>Hvis du vil ha den s\u00e5 m\u00e5 du sl\u00e5ss<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>En grusom d\u00f8d venter hver en mann<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n<strong>Som ikke hyller v\u00e5rt faderland<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>Ja vi er norske og stolte av det<\/strong>\n<strong>De kristne kj\u00f8tere vil jo ikke se<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>N\u00e5 har vi sagt det vi ville si<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n<strong>For norske br\u00f8dre som alt vil gi<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>Skogtroll varsler en grusom d\u00f8d<\/strong>\n<strong>Der Fenrisulven h\u00f8rte samme gl\u00f8d<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n<strong>Oppi fjellet oppi fjellet<\/strong>\n\n<strong>Hey!<\/strong>\n<strong>Hey!<\/strong>\n<strong>Hey!<\/strong>\n\n<strong>Kan dere se han?<\/strong>\n<strong>Kan dere se han?<\/strong>\n<strong>Se den kristne kj\u00f8teren!<\/strong>\n\n<strong>Deng ham opp!<\/strong>\n<strong>Deng ham opp!<\/strong>\n\n<strong>Og om du noen gang lukter kristenmanns blod, oppi fjellet. Ja, hent \u00f8ksa og kutt dem ned!<\/strong><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abP\u00e5 fjellet\u00bb<sup data-fn=\"f4fdfe93-0834-44bf-ad94-e4f3eb209db6\" class=\"fn\"><a href=\"#f4fdfe93-0834-44bf-ad94-e4f3eb209db6\" id=\"f4fdfe93-0834-44bf-ad94-e4f3eb209db6-link\">39<\/a><\/sup><br>Kristofer Janson<br><br>Hu hei! kor er det vel friskt og lett<br>opp p\u00e5 fjellet!, opp p\u00e5 fjellet!<br>her leikar vinden i k\u00e5te sprett<br>opp p\u00e5 fjellet! opp p\u00e5 fjellet!<br>og foten dansar, og auga l\u00e6r,<br>og hjarta kveikjande hugnad f\u00e6r opp p\u00e5 fjellet! opp p\u00e5 fjellet!<br><br>Kom opp! kom opp fr\u00e5 den tronge dal<br>opp p\u00e5 fjellet! opp p\u00e5 fjellet!<br>her bles ein bl\u00e5ster so frisk og sval opp p\u00e5 fjellet! opp p\u00e5 fjellet!<br>og lii skin utav blomar full, og soli drys alt sitt fagre gull opp p\u00e5 fjellet! opp p\u00e5 fjellet!<br><br>I dalen starvar du tung og heit, kom p\u00e5 fjellet! kom p\u00e5 fjellet! kor fint her er, inkje nokon veit, her p\u00e5 fjellet! her p\u00e5 fjellet!<br>ditt auga flyg over nut og tind, det er som flyg det i himlen inn opp fr\u00e5 fjellet, opp fr\u00e5 fjellet.<br><br>Og n\u00e5r no soli til kvila gjeng<br>attom fjellet, attom fjellet,<br>d\u00e5 reia skuggane opp si seng<br>attmed fjellet, attmed fjellet,<br>d\u00e5 gidrar alt i ein str\u00e5lestraum, og hjarta sveiper seg inn i draum opp p\u00e5 fjellet, opp p\u00e5 fjellet.<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>The late Kristoffer Janson can therefore not be blamed for the lyrics Storm replaced his poem with. As we recall from the interview with Puls, Wongraven says straight out that Nagell has written the lyrics.<sup data-fn=\"f30122c0-8483-42d8-bde2-f70fd655f6f4\" class=\"fn\"><a href=\"#f30122c0-8483-42d8-bde2-f70fd655f6f4\" id=\"f30122c0-8483-42d8-bde2-f70fd655f6f4-link\">40<\/a><\/sup><\/p>\n\n\n\n<p>Thus, it is in all likelihood Nagell who wrote the lyrics for &laquo;Oppi fjellet,&raquo; even though Wongraven sings it\u2014something he is both credited for on the cover and also mentions in the interview (in my translation): &laquo;It is an extreme mode of expression, which I have reinforced vocally&raquo;.<sup data-fn=\"94ed848c-698c-4788-a9ec-8e880dbfdeb3\" class=\"fn\"><a href=\"#94ed848c-698c-4788-a9ec-8e880dbfdeb3\" id=\"94ed848c-698c-4788-a9ec-8e880dbfdeb3-link\">41<\/a><\/sup>\u00a0<\/p>\n\n\n\n<p>Since these lyrics are considered the most controversial, let us go through them verse by verse, including an English translation done by me.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"1-vers\">Verse 1<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Eg h\u00f8yrde vindsuset kalle meg<br>Oppi fjellet oppi fjellet<br>Den tok meg vekk i fra folksam gard<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">I heard the rustling wind calling me<br>Up in the mountains, up in the mountains<br>It took me away from the crowded farm<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>In the first verse, the protagonist feels a call from the mountains, away from the crowded village. One interpretation is that this call is felt as a liberation from the hustle and bustle of the city, but also as a call away from the present and back to a simple Norse, pre-Christian life. Here, the mountains function the same way as in the previous track, &laquo;Nagellstev,&raquo; as something exalted \u2013 a place one goes to find great wisdom, where one can live in accordance with one&#8217;s own values, and where one does not follow the herd like those down in the valley. This first verse more or less summarizes the entirety of &laquo;Nagellstev,&raquo; or at least what I believe Storm intends to express with that track.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"2-vers\">Verse 2<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Og om dykk ikkje har h\u00f8rt det f\u00f8r<br>Eg blir i Norges land eg til eg d\u00f8r<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">And if you haven't heard it before<br>I'll stay in the land of Norway until I die<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>This second verse points directly back to the second track on <em>Nordavind<\/em>, &laquo;Mellom bakkar og berg,&raquo; where Storm added some of their own lines to the end of Ivar Aasen&#8217;s poem. There, the lyrics state, &laquo;Giv eg var her til evig tid&raquo; (Would that I were here for all eternity). This establishes the protagonist\u2019s national sentiment and sense of belonging.<\/p>\n\n\n\n<p>From this verse onwards, it no longer seems as if the mountains are separate from the rest of Norway; instead, they become the defining characteristic of a free and natural Norway. The populous farm in the previous verse now appears more generally as society outside of nature.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"3-vers\">Verse 3<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Her i v\u00e5rt rike er alt v\u00e5rt savn<br>Oppi fjellet oppi fjellet<br>Kring masse skoger vi sl\u00e5r v\u00e5r favn<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Here in our kingdom is all our longing<br>Up in the mountains, up in the mountains<br>Around many forests we wrap our embrace<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>The first line must mean that everything the protagonist longs for\u2014that is, desires\u2014is located in the country of Norway. In the third line, the phrasing gets a bit muddled in Norwegian, as one does not &laquo;sl\u00e5r&raquo; &laquo;v\u00e5r favn&raquo; around anything. You either embrace something or wrap your arms around it. Regardless, this means that the protagonist is protecting the forest. Also note that in the third verse, the lyrics shift from the singular personal pronouns &laquo;I&raquo; and &laquo;me&raquo; to the plural personal pronoun &laquo;we.&raquo; This continues for the rest of the song.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"4-vers\">Verse 4<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Og er det nokon som ikkje ser<br>Kvifor vi alltid til mor Noreg ber<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">And is there anyone who doesn't see<br>Why we always pray to Mother Norway<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>Here, the protagonist poses a rhetorical question about whether there is anyone who cannot see why we honor the land of Norway.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"5-vers\">Verse 5<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Ja, berg og gr\u00e5stein det eter vi<br>Oppi fjellet oppi fjellet<br>Vi skjems av bl\u00e5menn, vi g\u00e5r i hi<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Yes, rocks and grey stones we eat<br>Up in the mountains, up in the mountains<br>We\u2019re ashamed of the blue men, we go into our dens<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>This verse is quite cryptic. In a direct interpretation, since &laquo;bl\u00e5menn&raquo; (bluemen) was the Old Norse term for dark-skinned people,<sup data-fn=\"971a8c6a-64b7-4f7f-8f36-17a3e7582e09\" class=\"fn\"><a href=\"#971a8c6a-64b7-4f7f-8f36-17a3e7582e09\" id=\"971a8c6a-64b7-4f7f-8f36-17a3e7582e09-link\">42<\/a><\/sup> one could imagine that the protagonist and their companions eat rock and stone \u2013 meaning they make do with very little \u2013 while hiding in the mountains (i.e. in Norway) because they are ashamed of dark-skinned people. However, this interpretation seems a bit off, especially the bit about being ashamed.<\/p>\n\n\n\n<p>Snorri mentions &laquo;bl\u00e5menn&raquo; in two contexts: once at the beginning of the <em>Ynglinga saga<\/em>, and several times in the <em>Saga of Sigurd the Crusader and His Brothers Eystein and Olaf<\/em>. Large parts of this latter saga concern one of the sons of Magnus, King Sigurd \u2013 the one who traveled to Jorsal (Jerusalem) and was later known as Sigurd the Crusader. At one point during his Odyssey-like journey, he and his men sailed south of Spain along Serkland (Morocco) and arrived at a small island called Formentera, the southwesternmost of the Balearic Islands, in the chain that also includes Ibiza and Mallorca. This is how Snorri describes what the men encountered. In the English version of Snorris text, the bluemen are also called, more accurate, the Moors:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>There a great many heathen Moors had taken up their dwelling in a cave, and had built a strong stone wall before its mouth. They harried the country all round, and carried all their booty to their cave.<\/p>\n<cite>Snorri (1225), <a href=\"https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0692\">https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0692<\/a>.<\/cite><\/blockquote>\n\n\n\n<p>King Sigurd and his men make a coastal raid and attack. Thus sang Haldor Skvaldre from the pen of Snorri:<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Stridslystne fredsbryter<br>snart fikk se<br>framfor stavnen<br>Forminterra<br>Der h\u00e6r av bl\u00e5menn<br>f\u00f8r bane de fikk<br>m\u00e5tte egg<br>og ild t\u00e5le.<sup data-fn=\"ad06d7d1-7ebc-4c92-a916-e1c57fd79004\" class=\"fn\"><a href=\"#ad06d7d1-7ebc-4c92-a916-e1c57fd79004\" id=\"ad06d7d1-7ebc-4c92-a916-e1c57fd79004-link\">43<\/a><\/sup><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Forminterra lay<br>In the victor's way;<br>His ships' stems fly<br>To victory.<br>The bluemen there<br>Must fire bear,<br>And Norsemen's steel<br>At their hearts feel.<sup data-fn=\"d50faff0-ea44-4546-9acb-7b630d77bd78\" class=\"fn\"><a href=\"#d50faff0-ea44-4546-9acb-7b630d77bd78\" id=\"d50faff0-ea44-4546-9acb-7b630d77bd78-link\">44<\/a><\/sup><\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>It is somewhat problematic if Storm uses the term &laquo;blue men&raquo; to refer to dark-skinned North Africans, Moors, since they were, after all, Muslim and not Christian in the <em>Saga of Sigurd the Crusader and His Brothers Eystein and Olaf<\/em>, and therefore heathens. If this point about the &laquo;den&raquo; is to hold true \u2013 that is, seeking refuge from blue men \u2013 then these blue men must actually be Christians. Wongraven is also clear in the 1995 interview with Puls that people are of equal worth regardless of where they come from, and that black metal is:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>It is a showdown against the Christians. Against the state racism that Christianity is.<\/p>\n<cite><em>Puls (1995), no. 8, p. 7. My translation.<\/em><\/cite><\/blockquote>\n\n\n\n<p>This racism Wongraven refers to must be that in the social-democratic state-church Norway of 1995, there was a feeling that even with religious freedom \u2013 something we also had in 1995, although it has since been further strengthened<sup data-fn=\"56d93129-2888-4ee5-9627-2551da5ead20\" class=\"fn\"><a href=\"#56d93129-2888-4ee5-9627-2551da5ead20\" id=\"56d93129-2888-4ee5-9627-2551da5ead20-link\">45<\/a><\/sup> \u2013 it wasn&#8217;t really acceptable to have any values other than Christian ones.<\/p>\n\n\n\n<p>But who does Storm mean by &laquo;bl\u00e5menn&raquo;?<\/p>\n\n\n\n<p>Bluemen are also mentioned in the Song of Roland, the 12th-century Old French epic poem, at least in a Norwegian version:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Kong Karl, v\u00e5r drott, den store styresmannen, bar h\u00e6rskjold mot det fagre Spanialandet sju fulle \u00e5r, og vann det heilt til havet. Med hardhug han mot heidne bl\u00e5menn bardest; kvar mur, kvar borg, kvar minste by var fallen, forutan Zaragoza h\u00f8gt p\u00e5 kampen. Der r\u00e5der kong Marsile, heidningbranden som ofrar til Apollon og Muhammed. Men alt var f\u00e5fengt, b\u00e5de gand og galder.<\/p>\n<cite><em>Rolandskvadet (1965), p. 17.<\/em><\/cite><\/blockquote>\n\n\n\n<p>King Charles and Roland fought the Saracens in the land of the Saracens, which in Old Norse came to be called Serkland after the clothing worn by the people in the region. This designation covers several lands, such as the countries along the Euphrates and Tigris, Mesopotamia, and North Africa. These people are called heathens because they are non-Christians \u2013 not because they believe in Norse gods, but because they are Muslims.<\/p>\n\n\n\n<p>Is it then the Muslims who are the bluemen, the ones Storm is ashamed of and hides from?<\/p>\n\n\n\n<p>Those who fought against the Moors during the Crusades from the 11th to the 13th century were, after all, Christians, so the framing seems a bit strange. Why involve the Moors at all when it is the Christians who are the enemy? Unless, of course, it is all religious people who are the enemy here?<\/p>\n\n\n\n<p>One can conceive of &laquo;bl\u00e5menn&raquo; as a designation for intruders and troublemakers in general who plague and destroy the established order\u2014in this context, Old Norse culture. We find such a connection in fairytales and folklore.<\/p>\n\n\n\n<p>There are many accounts of tusser, mound-folk, nisser, and other &laquo;tuftefolk&raquo;\u2014invisible, social nature spirits that lived wherever people dwelt. These also include those known as &laquo;bl\u00e5kall&raquo; and &laquo;bl\u00e5menn.&raquo; The folklorist \u00d8rnulf Hodne mentions an intrusive &laquo;bl\u00e5kall&raquo; who tried to get into bed with a girl from Frei in Nordm\u00f8re, and whom she had to physically push away.<sup data-fn=\"ad604d8b-3b44-40fe-a4ab-d084366b5f33\" class=\"fn\"><a href=\"#ad604d8b-3b44-40fe-a4ab-d084366b5f33\" id=\"ad604d8b-3b44-40fe-a4ab-d084366b5f33-link\">46<\/a><\/sup><\/p>\n\n\n\n<p>Hilde L\u00f8we tells of a man from Her\u00f8y in M\u00f8re og Romsdal who recounted how one had to protect oneself against &laquo;subterranean bluemen&raquo; who only wished harm upon humans.<sup data-fn=\"762a7182-4f76-44e2-aa4c-1756f842180d\" class=\"fn\"><a href=\"#762a7182-4f76-44e2-aa4c-1756f842180d\" id=\"762a7182-4f76-44e2-aa4c-1756f842180d-link\">47<\/a><\/sup><\/p>\n\n\n\n<p>Bl\u00e5menn are essentially small gnomes that pester humans, create messes, and cause trouble for them.<\/p>\n\n\n\n<p>Christian Poulsen also has a fairy tale in his 1931 book <em>Nye norske eventyr<\/em> (New Norwegian Fairy Tales) titled &laquo;Bl\u00e5mennene&raquo; (The Bluemen). In it, the bluemen help an enchanted troll and a princess escape from captivity, while at the same time getting rid of some troublesome trolls who live in the innermost part of their cave in the mountain.<sup data-fn=\"5fc83e96-ba56-41d8-a14b-25be79644b31\" class=\"fn\"><a href=\"#5fc83e96-ba56-41d8-a14b-25be79644b31\" id=\"5fc83e96-ba56-41d8-a14b-25be79644b31-link\">48<\/a><\/sup><\/p>\n\n\n\n<p>The question then is whether these are the &laquo;bl\u00e5menn&raquo; Storm refers to when they sing about them in this verse. In all likelihood, the matter is far simpler than that. If we disregard the reference to the &laquo;bl\u00e5menn&raquo; in verse five, it is clear that this is a fairly simple text about love for the Norwegian land \u2013 a national-romantic tribute that highlights the mountains and forests, and seeks to shield Norway from intruders. Norway is defined as being &laquo;up in the mountains,&raquo; and the intruders are the Christians. This interpretation is reinforced from verse six onwards.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"6-vers\">Verse 6<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Og friske elva den er for oss<br>Hvis du vil ha den s\u00e5 m\u00e5 du sl\u00e5ss<br>Oppi fjellet oppi fjellet<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">And the fresh river is for us<br>If you want it, then you must fight<br>Up in the mountains, up in the mountains<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>In verse six, it is clear that the protagonist and his companions feel a sense of ownership over Norwegian nature and do not want to share it with those who cannot take care of it.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"7-vers\">Verse 7<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">En grusom d\u00f8d venter hver en mann<br>Oppi fjellet oppi fjellet<br>Som ikke hyller v\u00e5rt faderland<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">A cruel death awaits every man<br>Up in the mountains, up in the mountains<br>Who does not hail our fatherland<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>In verse seven, it is confirmed that a gruesome death awaits anyone who does not recognize the value of our ancestors&#8217; land. The ancestors referred to here are likely the Norse.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"8-vers\">Verse 8<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Ja vi er norske og stolte av det<br>De kristne kj\u00f8tere vil jo ikke se<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Yes, we are Norwegian and proud of it<br>The Christian curs refuse to see<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>In verse eight, it is pointed out that the Christians do not recognize Norway the way the protagonist and his companions do, and that they do not belong in the mountains, i.e., Norway.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"9-vers\">Verse 9<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">N\u00e5 har vi sagt det vi ville si<br>Oppi fjellet oppi fjellet<br>For norske br\u00f8dre som alt vil gi<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Now we have said what we wanted to say<br>Up in the mountains, up in the mountains<br>For Norwegian brothers who will give everything<br>Up in the mountains, up in the mountains<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>In verse nine, a brotherhood between the protagonist and his companions is revealed. It appears that the individual is male. Mother Norway (verse 4) has, throughout the verses, been transformed into the fatherland (verse 7), and it is this brotherhood that will give everything for Norway (verse 9).<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"10-vers\">Verse 10<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Skogtroll varsler en grusom d\u00f8d<br>Der Fenrisulven h\u00f8rte samme gl\u00f8d<br>Oppi fjellet oppi fjellet<br>Oppi fjellet oppi fjellet<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Forest trolls herald a gruesome death<br>Where the Fenris Wolf heard the same glow<br>Up in the mountain, up in the mountain<br>Up in the mountain, up in the mountain<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>Then the forest troll and the Fenris wolf appear in verse 10, which is the last actual verse. The rest consists of shouts. It says that the forest troll heralds a cruel death, and the Fenris wolf heard the same glow. What does that mean? I believe the forest troll testifies to how strongly folk belief stands in the struggle against Christianity. The troll&#8217;s presence in the forest is evidence of something primal that must be reclaimed. And the Fenris Wolf likewise, as a representative of the Old Norse. Gylve Fenris Nagell took his middle name and his stage name &laquo;Fenriz&raquo; from this mythological wolf.<\/p>\n\n\n\n<p>The monstrous Fenris wolf is the son of the giant Loki and the giantess Angrboda, brother of the Midgard Serpent and Hel, and half-brother of Sleipnir. He threatens the Aesir \u2013 the gods \u2013 and they therefore bind him. When Ragnarok comes, the end of the world, the Fenris wolf breaks free from his chains and kills Odin before being killed by Odin&#8217;s son Vidar.<sup data-fn=\"1af83e69-fb86-4174-b284-831be30412af\" class=\"fn\"><a href=\"#1af83e69-fb86-4174-b284-831be30412af\" id=\"1af83e69-fb86-4174-b284-831be30412af-link\">49<\/a><\/sup><\/p>\n\n\n\n<p>In this respect, the Fenris wolf heralds a new Ragnarok in the lyrics of &laquo;Oppi fjellet&raquo; \u2013 the final battle and downfall of the Christian world and the rebirth of a new world following the Norse model.<\/p>\n\n\n\n<p>But we must linger a moment on the forest troll. Theodor Kittelsen has a piece of writing titled &laquo;Skogtrollet&raquo; (The Forest Troll). It begins like this, first in the original Norwegian:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Skogen, det ensformige ville i skogen, har satt sitt stempel p\u00e5 oss, vi blev et stykke av samme natur. Vi elsker den, som den er \u2013 sterk og tungsindig.<\/p>\n\n\n\n<p>De susende graner og furuer har vi stirret op i som barn. Vi har fulgt de mektige stammer med \u00f8ine og med sjel, har klatret om mellem de sterke vredne armer og havnet i de h\u00f8ieste topper,&nbsp; \u2013 i de svingende susende topper, der oppe i det deilige bl\u00e5.<\/p>\n\n\n\n<p>N\u00e5r solen gikk ned, bredte ensomheten og stillheten sig over de lange moer, tyst og tett. Det var som om de ikke v\u00e5get \u00e5 dra \u00e5nde, som om skogen l\u00e5 i stille taus forventning. Da hamret det i v\u00e5rt hjerte. Vi vilde ha mere \u2013 vi tigget og bad om eventyr, sterke ville eventyr, for oss fattige barn. <\/p>\n\n\n\n<p>Og skogen ga oss eventyret.<\/p>\n<cite><em>Kittelsen, 1945, &laquo;Skogtrollet&raquo;, p. 215.<\/em><\/cite><\/blockquote>\n\n\n\n<p>And here in English:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>The woods, the wild monotony of the woods, has left its mark on us, we have become one with Nature. We love it for what it is, with its melancholy power.<\/p>\n\n\n\n<p>As children, we used to stare up into the rustling fir and pine trees, following their mighty trunks with our eyes and our soul. We climbed about in the strong, twisted branches, until we reached the very tops \u2013 in the swaying, rustling treetops, up there in the beautiful blue.<\/p>\n\n\n\n<p>When the sun set, solitude and piece descended over the great woods, a dense silence. It was as if they dared not breathe, as if the woods were lying in quiet, silent expectation. Then our hearts would pound. We wanted more \u2013 we begged and pleaded for adventures, exciting, wild adventures for us poor children.<\/p>\n\n\n\n<p>And the forest gave us an adventure.<\/p>\n<cite><em>Kittelsen, 2000, &laquo;The Forest Troll&raquo;, p. 8.<\/em><\/cite><\/blockquote>\n\n\n\n<p>In this excerpt from Kittelsen lies the seed of not only black metal\u2019s identification and sense of belonging with the forest, but also the yearning for adventure that black metal seeks. It is not difficult to read the jaded boredom and culturally impoverished, gnawing suburban ennui of 1980s Norwegian youth into Kittelsen\u2019s sentence that \u201cwe begged and pleaded for adventures, exciting, wild adventures for us poor children\u201d.<\/p>\n\n\n\n<p>Kittelsen\u2019s sentence, &laquo;N\u00e5r solen gikk ned, bredte ensomheten og stillheten sig over de lange moer, tyst og tett \/ When the sun set, solitude and piece descended over the great woods, a dense silence,\u201d points toward the Norwegian poet Hans B\u00f8rli\u2019s poem &laquo;Over de syngende \u00f8de moer \/ Across the singing desolate barrens&raquo; from the poetry collection <em>Isfuglen<\/em> (The Kingfisher) (1970). This poem forms part of the lyrics to Isengard\u2019s composition \u201cOver de syngende \u00f8de moer\u201d from the release <em>H\u00f8stm\u00f8rke<\/em> (1995). As previously mentioned, Isengard is the solo project of Gylve Fenris Nagell.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Over de syngende \u00f8de moer<br>Stien \u2013<br><br>Stor<br>m\u00e5 ensomheten bli<br>og stille som himmelrendene<br>f\u00f8r alle n\u00f8lende f\u00f8tter i skogen<br>sl\u00e5r inn p\u00e5 samme tr\u00e5kk<br>og skaper en sti<br>over de syngende \u00f8de moer<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Across the singing desolate barrens<br>The path \u2014<br><br>Vast<br>must the loneliness become<br>and still as the sky-rims<br>before all hesitant feet in the forest<br>turn into the selfsame track<br>and create a path<br>across the singing desolate barrens<sup data-fn=\"81e98dc9-bfd5-4711-876a-f813816b0fae\" class=\"fn\"><a href=\"#81e98dc9-bfd5-4711-876a-f813816b0fae\" id=\"81e98dc9-bfd5-4711-876a-f813816b0fae-link\">50<\/a><\/sup><br><\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>I write about the connection between B\u00f8rli and Isengard in the book <em>Sn\u00f8 og granskog: Spr\u00e5k, ideologi og nasjonalromantisk raseri i norsk svartmetall<\/em> (Snow and Spruce Forest: Language, Ideology, and National Romantic Rage in Norwegian Black Metal) from 2023.<\/p>\n\n\n\n<p>Both Nagell and Wongraven must have been familiar with Kittelsen\u2019s writing on the forest troll. In any case, they are well-acquainted with Kittelsen. This is clearly evident, for example, in Darkthrone\u2019s song &laquo;Inn i de dype skogers favn&raquo; from <em>Under a Funeral Moon<\/em> (1993), where the Black Death ravages in line with how Kittelsen drew and described it.<\/p>\n\n\n\n<p>Sigurd &laquo;Satyr&raquo; Wongraven expressed his fascination with Kittelsen in a newspaper interview with Arbeiderbladet on March 26, 1994.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 The neck and trolls are incredibly fascinating. I believe in trolls and the neck. They might not exist now, but I am convinced that they have existed. Kittelsen must have seen trolls and the Nix before he made his drawings, says Satyr, who cites Theodor Kittelsen as one of his great sources of inspiration.<\/p>\n<cite><em>Sigurd \u00abSatyr\u00bb Wongraven in Svingen (1994), p. 29.<\/em><\/cite><\/blockquote>\n\n\n\n<p>With Christianity, the trolls and the water sprite more or less disappeared from the Norwegian forests.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"siste-del\">Last part<\/h4>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abHey!<br>Hey!<br>Hey!<br><br>Kan dere se han?<br>Kan dere se han?<br>Se den kristne kj\u00f8teren!<br><br>Deng ham opp!<br>Deng ham opp!\u00bb<br><br>Og om du noen gang lukter kristenmanns blod, oppi fjellet. Ja, hent \u00f8ksa og kutt dem ned!<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\"Hey!<br>Hey!<br>Hey!<br><br>Can you see him?<br>Can you see him?<br>Look at that Christian cur!<br><br>Beat him up!<br>Beat him up!\"<br><br>And if you ever smell the blood of a Christian man, up in the mountains. Yes, fetch the axe and cut them down!<\/pre>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"567\" height=\"561\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-373492-1337474254-8397.jpg\" alt=\"\" class=\"wp-image-1129\" style=\"width:284px;height:281px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-373492-1337474254-8397.jpg 567w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-373492-1337474254-8397-300x297.jpg 300w\" sizes=\"auto, (max-width: 567px) 100vw, 567px\" \/><figcaption class=\"wp-element-caption\">Satyricon, <em>Nemesis Divina<\/em> (1996). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>The final part of Storm\u2019s &laquo;Oppi fjellet&raquo; consists of shouts from a mob made up of the protagonist and his companions who see a Christian and want to beat him up. And yes, the verse encourages violence, and the ultimate fate the Christian shall suffer in the rebirth of the new world \u2013 a world full of trolls and fairytales.<\/p>\n\n\n\n<p>The same theme can be found in Satyricon&#8217;s &laquo;Mother North&raquo; on <em>Nemesis Divina<\/em> (1996). The song is, as the album title also indicates, about the loss of Norse culture and the acceptance of Christianity, which has destroyed a magnificent Norse culture.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"langt-borti-lia\">Langt borti lia<\/h3>\n\n\n\n<p>The seventh track on Storm&#8217;s <em>Nordavind<\/em> is the second longest, with a duration of 7:15 minutes. At the same time, it has the shortest lyrics. Kari Ruesl\u00e5tten provides the lead vocals here, while Nagell and Wongraven provide backing vocals. The music is credited as &laquo;New Trad. \/ S. Wongraven,&raquo; which I previously interpreted to mean a traditional folk song of a more recent date with a known composer or lyricist. In this case, that does not seem to be the case either.<\/p>\n\n\n\n<p>The title &laquo;Langt borti lia&raquo; (Far Away in the Hillside) which Storm gave their version of this song, is not the original title; it is &laquo;S\u00e5g du noko&raquo; (Did you see anything). &laquo;S\u00e5g du noko&raquo; is a Norwegian folk song that exists in several textual variations, but they all share the opening line, &laquo;S\u00e5g du noko te kjerringa mi \/ langt borti lia i lia&raquo; (Did you see anything of my wife \/ far away on the hillside, on the hillside). In the version used by Storm, the lyrics continue with &laquo;Svart hatt, raud stakk, og lita, gammal og l\u00e5ghalt&raquo; (Black hat, red skirt, and small, old, and limping), but there are alternative endings, such as &laquo;Stutt stakk, svart hatt og noko lite l\u00e5ghalt&raquo; (Short skirt, black hat, and slightly limping).<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00ab<strong>Langt borti lia<\/strong>\u00bb<br>Storm<br><br>S\u00e5g du noko te kjerringa mi<br>langt borti lia i lia<br><br>Svart hatt, raud stakk, og lita, gammal og l\u00e5ghalt.<br><br><strong>Vegen g\u00e5r heimat<\/strong><br><strong>Natta ho er l\u00e5ng<\/strong><br><strong>Dyr<\/strong><sup data-fn=\"c236e697-251f-4e07-b630-195785655329\" class=\"fn\"><a href=\"#c236e697-251f-4e07-b630-195785655329\" id=\"c236e697-251f-4e07-b630-195785655329-link\">51<\/a><\/sup><strong> kviskrar i m\u00f8rkret<\/strong><br><strong>Eg h\u00f8yrer ein song<\/strong><br><br><strong>Vegen g\u00e5r heimat<\/strong><br><strong>Og natta ho er l\u00e5ng<\/strong><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abS\u00e5g du noko\u00bb\nFolkevise\n\nS\u00e5g du noko te kjerringa mi\nlangt borti lia i lia\n\nSvart hatt, raud stakk, og lita, gammal og l\u00e5ghalt.<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>The continuation is not from the original text and must have been added by Storm. In any case, it cannot be found published anywhere else, even when searching the Norwegian National Library&#8217;s collections for various phrases and sentences using different spellings. However, a search for &laquo;vegen g\u00e5r heim&raquo; (the road leads home) yields a result in Einar \u00d8kland&#8217;s 1974 book <em>Det blir alvor<\/em> (It&#8217;s getting serious). On pages 45\u201351, there is a story titled &laquo;Skogen som st\u00e5r der&raquo; (The forest that stands there). It is about a boy named Endre who is alone in the forest and experiences the sounds of the woods. The third sound he hears is &laquo;ei syngjande susing langt bortanfr\u00e5&raquo; (a singing soughing from far away). Then he finds a path, and &laquo;vegen g\u00e5r heim&raquo; (the road leads home). There he meets &laquo;ei gammal kone&raquo; (an old woman) whom he joins. &laquo;Kona har ein m\u00f8rk stakk og eit gr\u00e5tt arbeidsforkle og plagg p\u00e5 hovudet&raquo; (The woman wears a dark skirt and a grey work apron and a garment on her head). It is possible that Nagell had read this children&#8217;s story and it stayed with him in such a way that he combined these two stories. Regardless, \u00d8kland\u2019s story is quite similar to Theodor Kittelsen\u2019s story &laquo;Fattigmanden&raquo; (The Pauper), where the poor man, while listening to the sounds of the forest, encounters Pesta, the Black Death personified, on the path. The story is taken from <em>Svartedauen<\/em> \/ <em>The Black Death<\/em> (1900), a work that both Nagell and Wongraven were well acquainted with.<\/p>\n\n\n\n<p>In the third line of the added text, it sounds as though Ruesl\u00e5tten is singing &laquo;Dyr kviskrar i m\u00f8rkret&raquo; (Animals whisper in the dark). It is unclear whether she is actually singing &laquo;dyr&raquo; (animals) or something else that sounds similar. It seems a bit odd for it to be animals whispering in the dark, at least when the protagonist is hearing a song. I have not been able to make out exactly what she is singing.<\/p>\n\n\n\n<p>Musically, it\u2019s an interesting track, but lyrically it falls somewhat short. The connection between the original lyrics and the added text feels shaky. And the reasoning for including the song at all \u2013 at least with the original lyrics \u2013 seems somewhat odd, unless it is as I have suggested above. In any case, the lyrics do not seem to support any of the classic black metal themes.<\/p>\n\n\n\n<p>Nevertheless, we can find some clues that point us in the right direction. Which way home are we talking about here? And which night are we talking about?<\/p>\n\n\n\n<p>Shortly after the Black Death had finished its first ravaging of Norway in 1350, political turmoil had led to internal unrest, and a common heir to the three kingdoms of Norway, Sweden, and Denmark remained after countless alliance marriages, Norway entered into a union with Denmark (and initially also Sweden) in 1380 \u2013 a union that, in various constellations, lasted until the liberation from Denmark and the union with Sweden in 1814.<\/p>\n\n\n\n<figure class=\"wp-block-image alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"844\" height=\"1024\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Portrait_of_Henrik_Ibsen_1863-64_cropped-844x1024.jpg\" alt=\"\" class=\"wp-image-1181\" style=\"width:211px;height:256px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Portrait_of_Henrik_Ibsen_1863-64_cropped-844x1024.jpg 844w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Portrait_of_Henrik_Ibsen_1863-64_cropped-247x300.jpg 247w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Portrait_of_Henrik_Ibsen_1863-64_cropped-768x931.jpg 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Portrait_of_Henrik_Ibsen_1863-64_cropped-1266x1536.jpg 1266w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Portrait_of_Henrik_Ibsen_1863-64_cropped-1200x1455.jpg 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Portrait_of_Henrik_Ibsen_1863-64_cropped.jpg 1381w\" sizes=\"auto, (max-width: 844px) 100vw, 844px\" \/><figcaption class=\"wp-element-caption\">Henrik Ibsen (1828\u20131906). Foto: Wikipedia.<sup data-fn=\"a49d9826-5d9f-4c48-a537-0c13dcac6d27\" class=\"fn\"><a href=\"#a49d9826-5d9f-4c48-a537-0c13dcac6d27\" id=\"a49d9826-5d9f-4c48-a537-0c13dcac6d27-link\">52<\/a><\/sup><\/figcaption><\/figure>\n\n\n\n<p>Henrik Ibsen \u2013 albeit ironically \u2013 referred to this period as &laquo;the 400-year night&raquo; in his 1867 play <em>Peer Gynt<\/em>, which was based on a series of folk tales about the hunter Per Gynt, who also appeared in Asbj\u00f8rnsen\u2019s <em>Norwegian Fairy Tales and Folk Legends<\/em> (Ibsen 1867\/1906 and Asbj\u00f8rnsen 1845). The expression became widely used and is still regarded today as the popular narrative of the period of Danish rule. In reality, Norway experienced a period of prosperity during this time, with both population and economic growth, but this was sacrificed for symbolic effect in the re-establishment of Norway leading up to and after 1814.<\/p>\n\n\n\n<p>Although the Christianization of Norway was completed by the mid-11th century, it is easy to imagine that the period of union with Denmark, Christianity, and the Black Death coincide in time, together forming a long night in cultural history after the glorious Vikings passed out of time. It is this night that I believe it is possible Storm depicts in &laquo;Langt borti lia&raquo; \u2013 that is, the oppressive and freedom-depriving forces of unions, Christianity, and the Black Death. And what lies far away in the hillside is, of course, Norway.<\/p>\n\n\n\n<p>Let us return to the music. Since I first published this article, knowledgeable readers have pointed out that the connection to the folk music group Folque, and particularly their debut album <em>Folque<\/em> (1974), is stronger than I first assumed, even beyond the purely conceptual. Not only is Storm deeply inspired by Folque, they have indeed also borrowed some of the melodic lines from that release. This is particularly evident on &laquo;Langt borti lia.&raquo;<\/p>\n\n\n\n<p>Starting at 0:41 of &laquo;Langt borti lia,&raquo; Storm used the melody from the song &laquo;Reven og bj\u00f8rnen&raquo; by Folque. From 4:44, they use the melody from &laquo;Heimat l\u00e5ta&raquo; while the second part of the lyrics of &laquo;Vegen g\u00e5r heimat&raquo; is being sung.<\/p>\n\n\n\n<p>It is quite possible that there are more such borrowings, not only on &laquo;Langt borti lia,&raquo; which consists of several different musical parts, but also on the other songs on <em>Nordavind<\/em> that do not have a known origin\u2014i.e., &laquo;Lokk,&raquo; &laquo;Noregsgard,&raquo; and &laquo;Utferd.&raquo; I have tried to find other borrowings with my limited musical ear without success, but I would welcome any tips.<\/p>\n\n\n\n<p>I called my former NRK colleague J\u00f8rn Jensen, who played guitar and sang in Folque, to hear his thoughts on these musical borrowings. He was able to confirm that both &laquo;Heimat l\u00e5ta&raquo; and &laquo;Reven og bj\u00f8rnen&raquo; are used as parts of Storm&#8217;s &laquo;Langt borti lia&raquo;. He then sang the entire &laquo;Reven og bj\u00f8rnen&raquo; for me over the phone, giving me an exclusive concert right then and there, which was very pleasant. He could say little about the origin of the songs, but he believed that others from Folque could shed more light on the matter if I asked.<\/p>\n\n\n\n<p>J\u00f8rn also mentioned that he was aware that Folque is close to the hearts of many metalheads. He experienced this particularly clearly at a Folque reunion concert in 2014 at the concert venue John Dee in Oslo. There were many metalheads there with long hair who both stood out visually in the crowd, but who also knew the lyrics to all the songs and sang along.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"lokk\">Lokk<\/h3>\n\n\n\n<p>The eighth track, &laquo;Lokk&raquo;, is the shortest on Nordavind at just 53 seconds. On this track, Kari Ruesl\u00e5tten handles both the music and the vocals. We do not know who wrote the lyrics, other than that they must be Storm&#8217;s own original work. I cannot find any fragments or anything else from these lyrics published anywhere. However, it is of course quite possible that they have a different lyricist.<\/p>\n\n\n\n<pre class=\"wp-block-verse\">\u00ab<strong>Lokk<\/strong>\u00bb\nStorm\n\n<strong>Eg veit eit sted oppe i mellan \u00e5sen<\/strong>\n<strong>Kor m\u00e5sen er mjuk og trea kaster skugge<\/strong>\n<strong>Eg veit ein gut, den stautaste t\u00e5 alle<\/strong>\n<strong>Auge ljose i m\u00f8rket, \"Vil du staden sj\u00e5?\"<\/strong>\n\n<strong>Eg ventar til dagen er omme f\u00f8r eg til staden fer<\/strong>\n<strong>Set meg ned p\u00e5 hella, tru om han kjem?<\/strong>\n<strong>Eg vert s\u00e5 varm, kjenner kor hjartet banker<\/strong>\n<strong>Kom, kom hit hj\u00e5 meg, ta meg i di favn.<\/strong><\/pre>\n\n\n\n<p>Here in an English translation:<\/p>\n\n\n\n<pre class=\"wp-block-verse\">I know a place up among the hills<br>Where the moss is soft and the trees cast shadows<br>I know a boy, the finest of them all<br>Eyes bright in the dark, \"Do you want to see the place?\"<br><br>I wait until the day is over before I go to the place<br>Sit down on the flat stone, I wonder if he will come?<br>I grow so warm, feel how my heart beats<br>Come, come here to me, take me in your arms.<\/pre>\n\n\n\n<p>Once again, it is a somewhat atypical text in which it is difficult to find any black metal ideology. It may be the celebration of a &laquo;place&raquo; one is fond of and wants to share with someone. And this attachment to places, particularly in connection with the forest, is something black metal frequently points toward. Nevertheless, a different desire is the main theme of the text.<\/p>\n\n\n\n<p>The protagonist, a girl, knows of a place up in the hills where the moss is soft and the trees provide shade. She tells a boy she has a crush on about the spot and enticingly asks if he wants to see it. The next day, she goes up there to wait for him. Hun er seksuelt opphisset og lokker gutten til seg slik at hun kan ligge i hans favn.<\/p>\n\n\n\n<p>The re-enchanting ambitions of black metal can lead us to view this pastoral image as something more than two lovers sneaking away in secret. Perhaps it is the hulder who lures the boy to her with her dangerous desire, thereby restoring the mystery of the forest to him? It is this romantic conception of the world, this fairy-tale world, that the boy is enticed to reclaim by taking this hulder girl into his embrace. Or perhaps it is also the case that on this song, which is hardly black metal-ideological, Kari Ruesl\u00e5tten\u2019s divergent ambition with the release of Nordavind shines through: as a purer tribute to folk music and old Norway in a metal version.<\/p>\n\n\n\n<p>The alluring tone \u2013 very well conveyed by Ruesl\u00e5tten\u2019s fantastic voice \u2013 has likely given rise to the song\u2019s title, namely \u201cLokk.\u201d Otherwise, it has little in common with the traditional herding call intended for livestock; see the comments on \u201cNagellstev\u201d above.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"noregsgard\">Noregsgard<\/h3>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"596\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194484-2538.jpg\" alt=\"\" class=\"wp-image-1019\" style=\"width:300px;height:298px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194484-2538.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194484-2538-300x298.jpg 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/R-380928-1360194484-2538-150x150.jpg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Darkthrone, <em>Panzerfaust<\/em> (1995). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<p>In the ninth and final proper track before the outro &laquo;Utferd,&raquo; we once again encounter the bluemen. &laquo;Noregsgard&raquo; is the longest song on <em>Nordavind<\/em> with 8:13 minutes. Both Nagell and Wongraven are credited with the melody, so in this case, they did not use a traditional folk melody. In fact, it is the same melody used in the Darkthrone song &laquo;Quintessence&raquo; from <em>Panzerfaust<\/em> (1995). <em>Panzerfaust<\/em> was recorded in February and April 1994 at Necrohell Studios, but was not released until June 6, 1995. As we recall, <em>Nordavind<\/em> was recorded in November 1994, six months after <em>Panzerfaust<\/em> was recorded. There is therefore no doubt that Nagell brought the melody and the riff over from Darkthrone to Storm.<\/p>\n\n\n\n<p>Some even claim that the &laquo;Quintessence&raquo; riff is also the basis for the melody of the a cappella song &laquo;Nagelstev.&raquo;<\/p>\n\n\n\n<p>All three band members \u2013 Nagell, Wongraven, and Ruesl\u00e5tten \u2013 are credited with vocals on this track, but Nagell provides the lead vocals. Lyrically, it also appears that the entire piece is self-composed.<\/p>\n\n\n\n<p>The word &laquo;Noregsgard&raquo; is very rarely used. It is a compound word consisting of the words &laquo;Noreg&raquo; and &laquo;gard.&raquo; &laquo;Noreg&raquo; is the Nynorsk form of Norway. &laquo;Gard&raquo; is derived from the Old Norse <em>gar\u00f0r<\/em>, which means &laquo;fence, enclosed plot of land, fortified place, farm, or garden,&raquo; according to the Norwegian Academy Dictionary. Fundamentally, we can interpret &laquo;Noregsgard&raquo; as being Norway, but with a meaning that emphasizes its archaic, agricultural, and enclosed nature. <\/p>\n\n\n\n<p>Virtually all search results on the word &laquo;Noregsgard&raquo; on the internet point to Storm\u2019s song. According to the Norwegian National Library&#8217;s collection, the word can be found in published text in only two other places. One instance is as part of teacher Tomas H\u00e6reid&#8217;s prologue for the Indre Sogn branch of the Norwegian Farmers&#8217; Union&#8217;s annual meeting in \u00c5rdal on April 15, 1939, as reprinted in Sogns Avis on Tuesday, May 2, 1939.<sup data-fn=\"81a5c417-623c-4f75-8db6-e1e19e87e876\" class=\"fn\"><a href=\"#81a5c417-623c-4f75-8db6-e1e19e87e876\" id=\"81a5c417-623c-4f75-8db6-e1e19e87e876-link\">53<\/a><\/sup> The second time in the poem &laquo;Triklangen,&raquo; which is found in Hallvard Tveiten\u2019s poetry cycle <em>Fjellharpa<\/em> (The Mountain Harp) from 1952.<sup data-fn=\"11841c09-19bf-45ba-b2e0-e996d320adee\" class=\"fn\"><a href=\"#11841c09-19bf-45ba-b2e0-e996d320adee\" id=\"11841c09-19bf-45ba-b2e0-e996d320adee-link\">54<\/a><\/sup><\/p>\n\n\n\n<p>Searching Tveiten&#8217;s <em>Fjellharpa<\/em> for signal words such as &laquo;dugal,&raquo; &laquo;staut,&raquo; &laquo;traurig,&raquo; and &laquo;nors\u00f8nn&raquo; yields only one hit in the poetry collection for &laquo;staut,&raquo; without the context revealing that the word was taken from this specific source and incorporated into the text of Storm\u2019s &laquo;Noregsgard.&raquo;<\/p>\n\n\n\n<p>We shall dwell a little on the word &laquo;staut&raquo; (stout) in particular. It is mentioned twice in the booklet for <em>Nordavind<\/em>: &laquo;staute hjemland&raquo; (stout homeland) and &laquo;staute vokalmessige uttrykksform&raquo; (stout vocal form of expression). The word is also mentioned once in the song &laquo;Lokk&raquo;: &laquo;stautaste t\u00e5 alle&raquo; (the most stout of them all), and once in &laquo;Noregsgard&raquo;: &laquo;staut hans gange var&raquo; (stout his gait was).<\/p>\n\n\n\n<p>We find the expression used in Old Norse skaldic poems, such as in Tormod Kolbrunarskald\u2019s Stiklestad poem \u2013 Tormod who, incidentally, died in the Battle of Stiklestad in 1030<sup data-fn=\"8b7f362d-d7dc-4c7c-b458-660eeac7c16a\" class=\"fn\"><a href=\"#8b7f362d-d7dc-4c7c-b458-660eeac7c16a\" id=\"8b7f362d-d7dc-4c7c-b458-660eeac7c16a-link\">55<\/a><\/sup> \u2013 and in Glymdr\u00e1pa by Thorbjorn Hornklofi from around the year 900.<sup data-fn=\"45dca0f3-405b-4536-bf7b-cff838d68564\" class=\"fn\"><a href=\"#45dca0f3-405b-4536-bf7b-cff838d68564\" id=\"45dca0f3-405b-4536-bf7b-cff838d68564-link\">56<\/a><\/sup> And once again, Hallvard Tveiten is behind it, this time not as a poet, but as a translator. No fewer than four times do we find &laquo;staut&raquo; or &laquo;staute&raquo; mentioned in various Norse poems.<\/p>\n\n\n\n<p>The Norwegian author Knut Hamsun (1859\u20131952) uses it no fewer than 14 times in the novel <em>Men livet lever<\/em> \/ <em>The Road Leads On<\/em> (1933).<\/p>\n\n\n\n<p>The word &laquo;staut&raquo; originates from the Dutch &laquo;stout,&raquo; meaning proud. In Norwegian, it has come to mean sturdy and tall in stature, with &laquo;proud&raquo; remaining as an associated connotation.<\/p>\n\n\n\n<p>The Norwegian poet Arne Garborg (1851\u20131924) uses the expression three times in the poetry cycle <em>Haugtussa<\/em>. Here, he also spoke of bluemen. In the poem &laquo;I Bl\u00e5haug&raquo; (In Blue Mound) Veslem\u00f8y wanders astray on the wild heath in fog and storms.<\/p>\n\n\n\n<pre class=\"wp-block-verse\">Upp or dei djupe hyljar<br>stig som glidande skuggar<br>n\u00f8kken bl\u00e5 p\u00e5 sin halve hest<br>og vasstroll med v\u00e5te luggar.<br>Dei okar seg fram som dei orkar best.<sup data-fn=\"f2531f93-db1d-4dbc-b974-3d1873714c9d\" class=\"fn\"><a href=\"#f2531f93-db1d-4dbc-b974-3d1873714c9d\" id=\"f2531f93-db1d-4dbc-b974-3d1873714c9d-link\">57<\/a><\/sup><\/pre>\n\n\n\n<p>And in my English translation:<\/p>\n\n\n\n<pre class=\"wp-block-verse\">Up from the deep pools<br>rise like gliding shadows<br>the blue neck on his half-horse<br>and water trolls with wet forelocks.<br>They heave themselves forward as best they can.<\/pre>\n\n\n\n<p>Suddenly she is standing in the courtyard of what looks like a castle of a royal estate.<\/p>\n\n\n\n<pre class=\"wp-block-verse\">Veslem\u00f8y ser den haugkallen bl\u00e5<br>konge staut i svalgangen st\u00e5.<sup data-fn=\"66509a1c-4dde-4d3e-8ba6-61c7a26a4e2c\" class=\"fn\"><a href=\"#66509a1c-4dde-4d3e-8ba6-61c7a26a4e2c\" id=\"66509a1c-4dde-4d3e-8ba6-61c7a26a4e2c-link\">58<\/a><\/sup><\/pre>\n\n\n\n<p>And in my English translation:<\/p>\n\n\n\n<pre class=\"wp-block-verse\">Veslem\u00f8y sees the blue mound-man<br>a stately king, standing in the gallery.<\/pre>\n\n\n\n<p>The hulder people wait on her, promising that she will forget her heartbreak. But then Veslem\u00f8y comes to her senses and breaks free from her enchantment. She does not want to lose the capacity to feel deeply.<\/p>\n\n\n\n<pre class=\"wp-block-verse\">Ingin annan g\u00e6r meg i famn;<br>no riv eg meg laus i Jesu namn.<br>\u2013 Alt er burte. I skodda sansar<br>ho liksom ein skimt av kvervande svansar.<sup data-fn=\"a9234633-bf5d-4143-b8e5-39fc2d6000ff\" class=\"fn\"><a href=\"#a9234633-bf5d-4143-b8e5-39fc2d6000ff\" id=\"a9234633-bf5d-4143-b8e5-39fc2d6000ff-link\">59<\/a><\/sup><\/pre>\n\n\n\n<p>And in my English translation:<\/p>\n\n\n\n<pre class=\"wp-block-verse\">No one else takes me in their arms;<br>now I break free in the name of Jesus.<br>\u2013 Everything is gone. In the mist, she senses<br>something like a glimpse of vanishing tails.<\/pre>\n\n\n\n<p>The blue mound people lure Veslem\u00f8y to them when she is at her weakest. The same cannot be said of the capable fellow who is the protagonist in Storm\u2019s &laquo;Noregsgard.&raquo; He is stout and carries stones up the hill toward the viewpoint he seeks. Along the way, he cleaves the intruders\u2019 blueing skulls and reclaims his beloved Norway through battle.<\/p>\n\n\n\n<p>Rather than mound people and North Africans, it is possible that the bluish skulls belong to the Scottish expedition this time. As we can see from the map below and the painting &laquo;The Battle of Kringen&raquo; (1897) by Georg Nielsen Str\u00f8mdal, Kringen is situated approximately 150 meters in elevation above the L\u00e5gen river, which flows through the Gudbrandsdalen valley. On the map, we also see the Pillarguri peak to the west, on the other side of the valley. From here, there must have been a clear view directly toward the Scottish army as it moved up the hillside toward the 400 Norwegians lying in ambush at Kringen. Pillarguri herself would also have been difficult to spot and safe from the wrath of the Scots.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"3264\" height=\"1268\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05.png\" alt=\"\" class=\"wp-image-1137\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05.png 3264w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05-300x117.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05-1024x398.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05-768x298.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05-1536x597.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05-2048x796.png 2048w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05-1200x466.png 1200w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-19.58.05-1980x769.png 1980w\" sizes=\"auto, (max-width: 3264px) 100vw, 3264px\" \/><figcaption class=\"wp-element-caption\">Kringen er merket av p\u00e5 kartet, s\u00f8r for Otta, \u00f8st for L\u00e5gen. Pillarguritoppen ligger rett vest for Kringen, p\u00e5 vestsiden av L\u00e5gen, der det st\u00e5r Knollane.<\/figcaption><\/figure>\n\n\n\n<p>The lyrics to &laquo;Noregsgard&raquo; \u2013 as is the case with all the tracks on <em>Nordavind<\/em> \u2013 are incorrectly rendered in various online sources, and at several crucial points.<\/p>\n\n\n\n<p>The fifth verse is often rendered incorrectly, or more commonly, the second line is omitted:<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Der blant Norges skog og mark<br>Var fienden grell og f\u00e6l<br>Hans grimme sinn skulle vise dem<br>At nors\u00f8nn han har nok at t\u00e6l<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">There among Norway\u2019s forests and fields<br>The enemy was harsh and foul<br>His grim spirit would show them<br>That the son of Norway has plenty of grit<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>The same applies to the seventh and final verse. In several places, the second line is rendered as: &laquo;Norsonn tapte noregsgard for ein haer&raquo; or &laquo;Norsonn tapte noregsgard for ein han sigers h\u00e6r&raquo; (Norsonn lost Noregsgard to an army), neither of which makes sense. I have tried stripping away the music and listening to the lyrics repeatedly, but it seems impossible to determine what is actually being said in that line. Therefore, it is written as &laquo;[\u2026]&raquo;. I have kept the word &laquo;Nors\u00f8nn&raquo; in the English translation. It means &laquo;son of the north&raquo;.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Nors\u00f8nn tapte Noregsgard<br>For ein [...] h\u00e6r<br>Stolt han var da han kom igjen<br>For \u00e5 kl\u00f8yve dem med sitt sverd<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Nors\u00f8nn lost Noregsgard<br>Against a [...] army<br>Proud he was when he returned<br>To cleave them with his sword<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>In one sense, this seems to be the crux of the matter. What kind of army are we talking about? Is it Sinclair\u2019s army, the Scottish expedition? It is hardly stated outright. Regardless, this is a simile for black metal\u2019s struggle against the false Christian light.<\/p>\n\n\n\n<p>After this article was published, the answer came in the form of a comment on the Norwegian article from Jonatan H\u00e5bu, who believes that the word I couldn&#8217;t figure out is &laquo;landssvikers.&raquo; I believe he is absolutely right! H\u00e5bu also points out, correctly again, that since &laquo;Noregsgard&raquo; is supposed to be written in Nynorsk, it should have been sung as &laquo;landssvikars,&raquo; which it is not. It must be said\u2014and H\u00e5bu makes a point of this as well\u2014that the Nynorsk is far from textbook-perfect, either in &laquo;Noregsgard&raquo; or in the other tracks on <em>Nordavind<\/em>.<\/p>\n\n\n\n<p>Where I disagree with H\u00e5bu is in his claim that the third line of the first verse should not be &laquo;Opp gjennom \u00e5sen gr\u00e5stein han bar&raquo; (Up through the hill, gray stones he carried), but rather &laquo;Opp gjennom \u00e5sen gr\u00e5stein og bark&raquo; (Up through the hill, gray stone and bark). I believe it is clear that what is sung is &laquo;gr\u00e5stein han bar&raquo; (gray stones he carried), and although it may seem strange to carry stones on a hike \u2013 this capable man has, after all, just left his farm where he was surely used to clearing stones from his fields \u2013 it doesn&#8217;t seem to make any sense for it to say &laquo;Opp gjennom \u00e5sen gr\u00e5stein og bark&raquo; (Up through the hill, gray stone and bark). Here, I think we should instead look at the purpose of the stones he is carrying. He is, after all, going to reach his goal on the heights: namely, to defeat this traitor&#8217;s army by any means necessary, and stones are a widely used weapon.<\/p>\n\n\n\n<p>Thus, with the help of Jonatan H\u00e5bu, I can finally present the complete text of &laquo;Noregsgard.&raquo;<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\"<strong>Noregsgard<\/strong>\"<br>Storm<br><br><strong>Ein dugal kar fra garden dro<\/strong><br><strong>Han fulgte furuas sus<\/strong><br><strong>Opp gjennom \u00e5sen gr\u00e5stein han bar<\/strong><br><strong>Staut hans gange var<\/strong><br><br><strong>Sv\u00f8pt i morgengry<\/strong><br><strong>Under ein helnorsk himmel<\/strong><br><strong>Hans f\u00f8tter traurig vandres hen<\/strong><br><strong>Mot sitt m\u00e5l opp p\u00e5 h\u00f8yden<\/strong><br><br><strong>Ein v\u00e6rbitt hand griper sverdet fatt<\/strong><br><strong>Og kl\u00f8yver den bl\u00e5nende skalle<\/strong><br><strong>Hans kjeft den vrir seg i ulmende hat<\/strong><br><strong>Ufrender kommer at falle<\/strong><br><br><strong>S\u00e5 stod han der p\u00e5 utkikkstopp<\/strong><br><strong>Hans \u00f8yne ei fekk kvile<\/strong><br><strong>For han s\u00f8kte reint eit syn<\/strong><br><strong>Men det ble ein grusom pine<\/strong><br><br><strong>Der blant Norges skog og mark<\/strong><br><strong>Var fienden grell og f\u00e6l<\/strong><br><strong>Hans grimme sinn skulle vise dem<\/strong><br><strong>At nors\u00f8nn han har nok at t\u00e6l<\/strong><br><br><strong>Ein v\u00e6rbitt hand griper sverdet fatt<\/strong><br><strong>Og kl\u00f8yver den bl\u00e5nende skalle<\/strong><br><strong>Hans kjeft den vrir seg i ulmende hat<\/strong><br><strong>Ufrender kommer at falle<\/strong><br><br><strong>Nors\u00f8nn tapte Noregsgard<\/strong><br><strong>For ein landssvikers h\u00e6r<\/strong><br><strong>Stolt han var da han kom igjen<\/strong><br><strong>For \u00e5 kl\u00f8yve dem med sitt sverd<\/strong><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\"<strong>Noregsgard<\/strong>\"<br>Storm<br><br>A capable man left the farm<br>He followed the rustling of the pines<br>Up through the hill he carried gray stone<br>Stout was his gait<br><br>Wrapped in the dawn<br>Under a purely Norwegian sky<br>His feet wander wearily onward<br>Toward his goal upon the heights<br><br>A weather-beaten hand grips the sword<br>And cleaves the bluing skull<br>His mouth twists in smoldering hate<br>Enemies are bound to fall<br><br>There he stood upon the lookout peak<br>His eyes found no rest<br>For he sought a pure sight<br>But it became a cruel torment<br><br>There among Norway's woods and fields<br>The enemy was garish and foul<br>His grim mind would show them<br>That nors\u00f8nn has plenty of grit<br><br>A weather-beaten hand grips the sword<br>And cleaves the bluing skull<br>His mouth twists in smoldering hate<br>Enemies are bound to fall<br><br>Nors\u00f8nn lost Noregsgard<br>To a traitor's army<br>Proud he was when he returned<br>To cleave them with his sword<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>Who, then, is the traitor in this text, who conquers Noregsgard with his army? It is, of course, the Christian saga kings who brought Christianity to Norway \u2013 or Noregsgard, as Norway is called in the song. It is thus also clear that it is the bluing skulls of Christianity that are split by Nors\u00f8nn\u2019s sword.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"utferd\">Utferd<\/h3>\n\n\n\n<p>Just as &laquo;Innferd&raquo; opens Storms <em>Nordavind<\/em>, the tenth song &laquo;Utferd&raquo; (exit\/journey) closes the album.<\/p>\n\n\n\n<p>The words <em>innferd<\/em> and <em>utferd<\/em> consist of two parts: <em>inn<\/em>\/<em>ut<\/em> and <em>ferd<\/em>, where the adverb <em>inn<\/em> (in) means &laquo;a direction from something external to something internal&raquo;, the adverb <em>ut<\/em> (out) means &laquo;a direction from something internal to something external&raquo;, and the noun <em>ferd<\/em> (journey) describes &laquo;a journey&raquo;. All three words are from Old Norse. The word <em>ferd<\/em> is used quite often in black metal to describe a journey, often a figurative mental journey, a transformation from something to something, which is so important in black metal.<\/p>\n\n\n\n<p>The use of the words <em>innferd<\/em> and <em>utferd<\/em> as titles for the songs that start and end <em>Nordavind<\/em> indicates that one is entering something at the beginning that one is leaving at the end. The words also have a solemnity that is reinforced by the instrumentation.<\/p>\n\n\n\n<p>\u00abUtferd\u00bb is 1:58 minutes long; it is an instrumental featuring finger-picked acoustic guitar\u2014with nylon strings and recorded with an external microphone(?)\u2014over a soft bed of long synthesizer tones. Wongraven is responsible for the arrangement of an old melody marked \u201cNy Trad.,\u201d as well as the instrumentation.<\/p>\n\n\n\n<p>But which traditional tune is &#8216;Utferd&#8217; based on?<\/p>\n\n\n\n<p>There is no answer to that on the internet, or at least I haven&#8217;t found the answer.<\/p>\n\n\n\n<p>The music recognition app Shazam only gives the obvious answer, namely &laquo;Utferd&raquo; by Storm.<\/p>\n\n\n\n<p>I therefore sent the song to my NRK colleague, folk music authority, and multi-instrumentalist Leiv Solberg. Leiv has hosted the folk music program <em>Folkemusikktimen<\/em> on NRK P2 since 1988.<sup data-fn=\"25fffa44-5119-40a6-bb83-c3c518ba3b34\" class=\"fn\"><a href=\"#25fffa44-5119-40a6-bb83-c3c518ba3b34\" id=\"25fffa44-5119-40a6-bb83-c3c518ba3b34-link\">60<\/a><\/sup> He holds a master\u2019s degree in music and helped establish the folk music program at the University of South-Eastern Norway in 1987.<sup data-fn=\"4c20895a-3d43-4cd4-9af2-3db71c8c073d\" class=\"fn\"><a href=\"#4c20895a-3d43-4cd4-9af2-3db71c8c073d\" id=\"4c20895a-3d43-4cd4-9af2-3db71c8c073d-link\">61<\/a><\/sup><\/p>\n\n\n\n<p>Leiv writes to me in an email:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>This is hard to pinpoint off the top of my head, but it sounds like the second phrase of a folk melody, with a closing turn. I assume it&#8217;s the slow three-beat track with the guitar melody on top of the synth you&#8217;re thinking of. It\u2019s a clear contrast to what came before \u2013 almost like walking out of an intense party with a loud PA system and wandering home feeling a bit empty. That specific sense of numbness is reinforced by this slightly romantic theme repeating over and over without you ever hearing the main theme, the first phrase. It makes your head spin, really. As for exactly where this theme comes from, no bells are ringing so far. I can run it by a few people here and there.<\/p>\n<cite>Email from Leiv Solberg, January 31, 2022.<\/cite><\/blockquote>\n\n\n\n<p>That\u2019s where things stand now, so we\u2019ll see.<\/p>\n\n\n\n<p>When the sound of &laquo;Utferd&raquo; fades out, we are essentially finished with <em>Nordavind<\/em>, and thus also Storm, as <em>Nordavind<\/em> was the only release they put out. Or not quite. There is one more track released under the name Storm. Therefore, I am also including the story behind it.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"oppunder-skrent-og-villmark\">Oppunder skrent og villmark<\/h3>\n\n\n\n<p>On December 13, 1996, a year and a half after Storm released <em>Nordavind<\/em>, the double compilation <em>Crusade from the North<\/em> was released on Wongraven\u2019s record label, Moonfog. It is a compilation featuring the bands Satyricon, Darkthrone, Storm, Wongraven, Isengard, and Neptune Towers. As previously mentioned, Satyricon and Wongraven are Sigurd &laquo;Satyr&raquo; Wongraven\u2019s bands, along with Storm, which he shares with Gylve Fenris Nagell. Nagell, for his part, is represented by four bands \u2013 primarily Darkthrone and Storm, but also his solo projects, Isengard and Neptune Towers. As noted earlier in the article, Neptune Towers is a dark ambient project, and Isengard is a folk metal project.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"578\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-4183766-1396528825-9625.jpeg.jpg\" alt=\"\" class=\"wp-image-1172\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-4183766-1396528825-9625.jpeg.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-4183766-1396528825-9625.jpeg-300x289.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\"><em>Crusade from the North<\/em> (1996). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1452\" height=\"2048\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n.jpg\" alt=\"\" class=\"wp-image-1174\" style=\"width:351px;height:500px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n.jpg 1452w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-213x300.jpg 213w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-726x1024.jpg 726w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-768x1083.jpg 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-1089x1536.jpg 1089w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/49449270_2325040704447508_8888152884533788672_n-1200x1693.jpg 1200w\" sizes=\"auto, (max-width: 1452px) 100vw, 1452px\" \/><figcaption class=\"wp-element-caption\">Nordic Vision, 1995(3).<\/figcaption><\/figure>\n\n\n\n<p>In the interview with Wongraven in the Norwegian fanzine Nordic Vision from the spring of 1995, he says the following at the very end of the interview when asked if Storm will be playing live:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2013 I don&#8217;t think you will see us live. We have received offers but it is not possible to play live since we handle so many instruments at the same time in the studio. Just listen to Nordavind and the upcoming EP instead.<\/p>\n<cite><em>Sigurd \u00abSatyr\u00bb Wongraven, Nordic Vision, 1995(3).<\/em><\/cite><\/blockquote>\n\n\n\n<p>The EP Wongraven mentions here never materialized. However, one more Storm track was released, appearing on <em>Crusade from the North<\/em> in December 1996. That track is titled &laquo;Oppunder skrent og villmark&raquo; (At the foot of cliffs and wilderness). It was either written for <em>Nordavind<\/em> and omitted from that release, or it was recorded for the aforementioned EP. Since Ruesl\u00e5tten sings on &laquo;Oppunder skrent og villmark&raquo; and had a falling out with Nagell and Wongraven even before the release of <em>Nordavind<\/em>, it is perhaps most plausible to assume that this track was recorded during the <em>Nordavind<\/em> sessions. However, there may have been talk of a follow-up EP as early as the recording of <em>Nordavind<\/em>; we simply don&#8217;t know.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"468\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-4183766-1357899358-5862.jpeg.jpg\" alt=\"\" class=\"wp-image-1176\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-4183766-1357899358-5862.jpeg.jpg 600w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/R-4183766-1357899358-5862.jpeg-300x234.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\"><em>Crusade from the North<\/em> (1996). Foto: Discogs.<\/figcaption><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\" id=\"crusade-from-the-north-1996\"><em>Crusade from the North<\/em> (1996)<\/h4>\n\n\n\n<figure class=\"wp-block-table alignwide is-style-regular\"><table><tbody><tr><td><strong>#<\/strong><\/td><td><strong>Band<\/strong><\/td><td><strong>Song<\/strong><\/td><td><strong>Release<\/strong><\/td><td><strong>Information<\/strong><\/td><td><strong>Length<\/strong><\/td><\/tr><tr><td><\/td><td><strong>Disc 1<\/strong><\/td><td><\/td><td><\/td><td><\/td><td><\/td><\/tr><tr><td><\/td><td><strong>Side A<\/strong><\/td><td><\/td><td><\/td><td><\/td><td><\/td><\/tr><tr><td>1.<\/td><td>Darkthrone<\/td><td>\u00abRavnajuv\u00bb<\/td><td><em>Total Death<\/em> (1996)<\/td><td>\u00abTaken from Total Death. Differently mastered version exclusively for this compilation\u00bb<\/td><td>04:21<\/td><\/tr><tr><td>2.<\/td><td>Storm<\/td><td>\u00abOppi fjellet\u00bb<\/td><td><em>Nordavind<\/em> (1995)<\/td><td>\u00abTaken from Nordavind\u00bb&nbsp;<\/td><td>04:02<\/td><\/tr><tr><td>3.<\/td><td>Storm<\/td><td>\u00abOppunder skrent og villmark\u00bb<\/td><td>Previously unreleased<\/td><td>\u00abPreviously unreleased\u00bb&nbsp;<\/td><td>05:58<\/td><\/tr><tr><td>4.<\/td><td>Satyricon<\/td><td>\u00abTaakeslottet\u00bb<\/td><td><em>Dark Medieval Times<\/em> (1993)<\/td><td>\u00abTaken from Dark Medieval Times\u00bb<\/td><td>05:47<\/td><\/tr><tr><td><\/td><td><strong>Side B<\/strong><\/td><td><\/td><td><\/td><td><\/td><td><\/td><\/tr><tr><td>5.<\/td><td>Neptune Towers<\/td><td>\u00abTo Cold Void Desolation\u00bb<\/td><td><em>Transmissions from Empire Algol<\/em> (1995)<\/td><td>\u00abExcerpt from Transmissions from Empire Algol\u00bb&nbsp;<\/td><td>05:41<\/td><\/tr><tr><td>6.<\/td><td>Darkthrone<\/td><td>\u00abThe Hordes of Nebulah\u00bb<\/td><td><em>Panzerfaust<\/em> (1995)<\/td><td>\u00abTaken from Panzerfaust\u00bb&nbsp;<\/td><td>05:34<\/td><\/tr><tr><td>7.<\/td><td>Satyricon<\/td><td>\u00abBorn for Burning\u00bb<\/td><td>Bathory cover, <em>The Return\u2026\u2026<\/em> (1985)<\/td><td>\u00abMusic &amp; lyrics Quorthon for Bathory\/Black Mark. Previously unreleased.\u00bb&nbsp;<\/td><td>05:20<\/td><\/tr><tr><td>8.<\/td><td>Wongraven<\/td><td>\u00abTiden er en stenlagt grav\u00bb<\/td><td><em>Fjelltronen<\/em> (1995)<\/td><td>\u00abExcerpt from Fjelltronen\u00bb<\/td><td>08:07<\/td><\/tr><tr><td><\/td><td><\/td><td><\/td><td><\/td><td><\/td><td>44:50<\/td><\/tr><tr><td><\/td><td><strong>Disc 2<\/strong><\/td><td><\/td><td><\/td><td><\/td><td><\/td><\/tr><tr><td><\/td><td><strong>Side A<\/strong><\/td><td><\/td><td><\/td><td><\/td><td><\/td><\/tr><tr><td>1.<\/td><td>Satyricon<\/td><td>\u00abThe Night of the Triumphator\u00bb<\/td><td><em>The Forest is my Throne \/ Yggdrasill<\/em> (1995)<\/td><td>\u00abOnly available on The Forest Is My Throne, Digipak CD)\u00bb<\/td><td>05:16<\/td><\/tr><tr><td>2.<\/td><td>Isengard<\/td><td>\u00abNeslepaks\u00bb<\/td><td><em>H\u00f8stm\u00f8rke<\/em> (1995)<\/td><td>\u00abTaken from H\u00f8stm\u00f8rke\u00bb&nbsp;<\/td><td>05:32<\/td><\/tr><tr><td>3.<\/td><td>Storm<\/td><td>\u00abNoregsgard\u00bb<\/td><td><em>Nordavind<\/em> (1995)<\/td><td>\u00abPreviously unreleased remix\u00bb&nbsp;<\/td><td>06:11<\/td><\/tr><tr><td>4.<\/td><td>Satyricon<\/td><td>\u00abDominions of Satyricon\u00bb<\/td><td><em>The Shadowthrone<\/em> (1994)<\/td><td>\u00abTaken from The Shadowthrone\u00bb&nbsp;<\/td><td>09:27<\/td><\/tr><tr><td><\/td><td><strong>Side B<\/strong><\/td><td><\/td><td><\/td><td><\/td><td><\/td><\/tr><tr><td>5.<\/td><td>Darkthrone<\/td><td>\u00abGreen Cave Float\u00bb<\/td><td><em>Goatlord<\/em> (1996)<\/td><td>\u00abTaken from the yet to be released Goatlord\u00bb<\/td><td>04:06<\/td><\/tr><tr><td>6.<\/td><td>Neptune Towers<\/td><td>\u00abCaravans to Empire Algol\u00bb<\/td><td><em>Caravans to Empire Algol<\/em> (1994)<\/td><td>\u00abExcerpt from Caravans to Empire Algol\u00bb&nbsp;<\/td><td>06:31<\/td><\/tr><tr><td>7.<\/td><td>Storm<\/td><td>\u00abMellom bakkar og berg\u00bb<\/td><td><em>Nordavind<\/em> (1995)<\/td><td>\u00abRecording from the first Storm rehearsal ever, previously unreleased\u00bb&nbsp;<\/td><td>03:05<\/td><\/tr><tr><td>8.<\/td><td>Satyricon<\/td><td>\u00abSkyggedans\u00bb<\/td><td><em>Dark Medieval Times<\/em> (1993)<\/td><td>\u00abDifferent mix, previously unreleased\u00bb&nbsp;<\/td><td>03:54<\/td><\/tr><tr><td><\/td><td><\/td><td><\/td><td><\/td><td><\/td><td>44:02<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><em>Crusade from the North<\/em> is adorned with another illustration from Snorri\u2019s <em>Heimskringla<\/em>, just like <em>Nordavind<\/em>, but this time it is placed on the front cover rather than second to last in the booklet. The illustration is taken from the King Olaf Trygvason&#8217;s Saga, was drawn by Erik Werenskiold, and bears the caption &laquo;Seierherrenes skip vender hjem etter slaget ved Svolder&raquo; (The victors&#8217; ships return home after the Battle of Svolder). The Battle of Svolder was a naval battle fought in the western Baltic Sea in September of the year 999 or 1000.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1614\" height=\"1356\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.13.49.png\" alt=\"\" class=\"wp-image-1083\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.13.49.png 1614w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.13.49-300x252.png 300w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.13.49-1024x860.png 1024w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.13.49-768x645.png 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.13.49-1536x1290.png 1536w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Skjermbilde-2022-02-01-kl.-09.13.49-1200x1008.png 1200w\" sizes=\"auto, (max-width: 1614px) 100vw, 1614px\" \/><figcaption class=\"wp-element-caption\">Sturlason (1220\/1980), s. 208\u2013209.<\/figcaption><\/figure>\n\n\n\n<p>Olav Tryggvason was the first of the two great Norwegian missionary kings. His successor was Olav II Haraldsson, Saint Olaf. King Olav Tryggvason died at the Battle of Svolder, which set back the further development of Norway as a Christian nation.<sup data-fn=\"edad097f-c3b0-44d7-bbc8-7318f66e7483\" class=\"fn\"><a href=\"#edad097f-c3b0-44d7-bbc8-7318f66e7483\" id=\"edad097f-c3b0-44d7-bbc8-7318f66e7483-link\">62<\/a><\/sup> Here is what Wikipedia says about the battle:\u00a0<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>King&nbsp;Olaf Tryggvason&nbsp;was sailing to, or home from, an expedition in Wendland (Pomerania), when he was ambushed by an alliance of&nbsp;Svein Forkbeard, King of Denmark,&nbsp;Olof Sk\u00f6tkonung&nbsp;(also known as Olaf Eir\u00edksson or Olaf the Swede), King of Sweden, and&nbsp;Eirik H\u00e1konarson,&nbsp;Jarl of Lade. According to the Saga of King Olaf I Tryggvason, he had 60 warships plus the contribution of 11 warships from the&nbsp;Jomvikings.&nbsp;His ships were captured one by one, last of all the&nbsp;<em>Ormen Lange<\/em>, which Jarl Eirik captured as Olaf threw himself into the sea. After the battle, Norway was ruled by the Jarls of&nbsp;Lade&nbsp;allied (as a suzerain) to both the Danish Crown and the Commonwealth of Uppsala, Sweden.<\/p>\n<cite>Wikipedia: <a href=\"https:\/\/en.wikipedia.org\/wiki\/Battle_of_Svolder\">https:\/\/en.wikipedia.org\/wiki\/Battle_of_Svolder<\/a>.<\/cite><\/blockquote>\n\n\n\n<figure class=\"wp-block-image alignleft size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"1782\" src=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Edvard_Grieg_at_the_piano_3469865027.jpg\" alt=\"\" class=\"wp-image-1193\" style=\"width:300px;height:426px\" srcset=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Edvard_Grieg_at_the_piano_3469865027.jpg 1280w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Edvard_Grieg_at_the_piano_3469865027-215x300.jpg 215w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Edvard_Grieg_at_the_piano_3469865027-736x1024.jpg 736w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Edvard_Grieg_at_the_piano_3469865027-768x1069.jpg 768w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Edvard_Grieg_at_the_piano_3469865027-1103x1536.jpg 1103w, https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/02\/Edvard_Grieg_at_the_piano_3469865027-1200x1671.jpg 1200w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\" \/><figcaption class=\"wp-element-caption\">Edvard Grieg (1843\u20131907). Foto: Wikipedia.<\/figcaption><\/figure>\n\n\n\n<p>It was therefore Eirik H\u00e5konsson, the Earl of Lade from Tr\u00f8ndelag, who was one of the victors of the Battle of Svolder. It is clear that the victory over the Christian missionary king Olav Tryggvason was a major motivation for Nagell and Wongraven\u2019s use of the victors&#8217; ships as an illustration for the release <em>Crusade from the North<\/em>. However, the struggle against the king was likely not a battle over Christianity. According to Snorre Sturlasson, Eirik H\u00e5konsson was more of a realpolitician than a dogmatist and held a pragmatic view of religion. Nevertheless, the image of the victors&#8217; ships returning home after the Battle of Svolder \u2013 where the Christian missionary king Olav Tryggvason fell to superior forces \u2013 provides a fitting symbol of black metal\u2019s mission and its dream for the future.<\/p>\n\n\n\n<p>Let us return to the song &laquo;Oppunder Skrent og Villmark&raquo;.<sup data-fn=\"1dc45081-ff82-4268-a519-1f7231e5bfe6\" class=\"fn\"><a href=\"#1dc45081-ff82-4268-a519-1f7231e5bfe6\" id=\"1dc45081-ff82-4268-a519-1f7231e5bfe6-link\">63<\/a><\/sup> The track is 5:58 long and features bass, drums, guitar, and vocals. The majority of the vocals are performed by Kari Ruesl\u00e5tten, though both Nagell and Wongraven contribute backing vocals. The final lines are sung by Nagell. In fact, the backing vocals on &laquo;Oppunder Skrent og Villmark&raquo; are more sophisticated than on <em>Nordavind<\/em> and sound good. The music is taken from Edvard Grieg&#8217;s &laquo;Solveig&#8217;s Song&raquo;, which is part of Grieg&#8217;s incidental music for the production of Henrik Ibsen&#8217;s play <em>Peer Gynt<\/em>. The music was composed in 1874\u20131875.<sup data-fn=\"d18adcaa-c9ba-4ac2-96eb-4d16fe48c55a\" class=\"fn\"><a href=\"#d18adcaa-c9ba-4ac2-96eb-4d16fe48c55a\" id=\"d18adcaa-c9ba-4ac2-96eb-4d16fe48c55a-link\">64<\/a><\/sup><\/p>\n\n\n\n<p>The text of &laquo;Oppunder Skrent og Villmark&raquo; is thus taken from Ibsen\u2019s <em>Peer Gynt<\/em>. It reads (in Norwegian):<\/p>\n\n\n\n<pre class=\"wp-block-verse\">(Sommerdag. H\u00f8yt oppe mot nord. En hytte i storskogen. \u00c5pen d\u00f8r med en stor trel\u00e5s. Rensdyrhorn over d\u00f8ren. En flokk geiter ved husveggen.)\n(En middelaldrende kvinne, lys og smukk, sitter og spinner utenfor i solskinnet.)\nKvinnen (kaster et \u00f8ye ned over veien og synger):\n\nKanskje vil der g\u00e5 b\u00e5de vinter og v\u00e5r,\nog neste sommer med, og det hele \u00e5r; \u2014\nmen en gang vil du komme, det vet jeg visst;\nog jeg skal nok vente, for det lovte jeg sist.\n\t(lokker p\u00e5 geitene, spinner og synger igjen.)\nGud styrke deg, hvor du i verden g\u00e5r!\nGud glede deg, hvis du for hans fotskammel st\u00e5r!\nHer skal jeg vente til du kommer igen;\nog venter du hist oppe, vi treffes der, min venn!<\/pre>\n\n\n\n<p>And in an English translation:<\/p>\n\n\n\n<pre class=\"wp-block-verse\">Outside a hut in a forest in the far north of Norway. It is a summer's day. <br>The door, which stands open, is furnished with a massive wooden bolt; above the door a pair of reindeer horns is  fixed. A herd of goats are feeding by the wall. SOLVEIG, now a fair and handsome middle-aged woman, is sitting spinning in the sunshine. <br><br>SOLVEIG [looks down the path and sings].<br><br>It may not be till winter's past,<br>And spring and summer \u2014 the whole long year; <br>But I know that you will come at last,<br>And I shall wait, for I promised you, dear. <br><br>[Calls to her goats, then resumes her spinning and singing.] <br><br>God guard you, dear, where'er you be! <br>If in Heaven, God have you in His care! <br>I shall wait till you come back to me; <br>If you're waiting above I shall meet you there!<sup data-fn=\"ddc6e08c-f0c9-4cb7-81b0-015449627d08\" class=\"fn\"><a href=\"#ddc6e08c-f0c9-4cb7-81b0-015449627d08\" id=\"ddc6e08c-f0c9-4cb7-81b0-015449627d08-link\">65<\/a><\/sup><\/pre>\n\n\n\n<p>However, only parts of the text on &laquo;Oppunder Skrent og Villmark&raquo; are taken from Ibsen. The rest was written by Storm. Deviating text is highlighted.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abOppunder Skrent Og Villmark\u00bb\nStorm\n\nKanskje vil der g\u00e5 b\u00e5de vinter og v\u00e5r, b\u00e5de vinter og v\u00e5r.\nOg neste sommer med og det hele \u00e5r, og det hele \u00e5r.\nMen en gang vil du komme det vet jeg visst, det vet jeg visst.\n<strong>For her har du landet og den du har kj\u00e6r, og den du har kj\u00e6r<\/strong>\n\nKanskje vil der g\u00e5 b\u00e5de vinter og v\u00e5r, b\u00e5de vinter og v\u00e5r\n<strong>F\u00f8r jeg igjen se det ganske land, det ganske land<\/strong>\n<strong>Der forfedre kjempet for retten til liv, for retten til liv<\/strong>\n\n<strong>Skal jeg atter se utover mektige fjell, og li og dal og skog og fjord<\/strong>\n\n<strong>Her vil jeg bo, her skal jeg leve<\/strong>\n<strong>Oppunder skrent og villmark<\/strong>\n\n<strong>Her vil jeg bo, her skal jeg leve<\/strong>\n<strong>Oppunder skrent og villmark<\/strong>\n\n<strong>Her vil jeg bo, her skal jeg leve<\/strong>\n<strong>Oppunder skrent og villmark<\/strong>\n\n<strong>Her vil jeg bo, her skal jeg leve<\/strong>\n<strong>Oppunder skrent og villmark<\/strong>\n\n<strong>Jeg skal atter se utover mektige fjell, og li og dal og skog og fjord<\/strong>\n<strong>Her i v\u00e5rt rike stor og h\u00f8y<\/strong>\n\n<strong>\"Ja, selv guder m\u00e5 d\u00f8, n\u00e5r alteret synker i st\u00f8v og de som tror p\u00e5 dem er d\u00f8de.\"<\/strong><\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">\u00abSolveigs sang\u00bb\nHenrik Ibsen \/ Edvard Grieg\n\nKanskje vil der g\u00e5 b\u00e5de vinter og v\u00e5r, b\u00e5de vinter og v\u00e5r.\nOg neste sommer med og det hele \u00e5r, og det hele \u00e5r\nMen en gang vil du komme det vet jeg visst, det vet jeg visst,&nbsp;\n<strong>og jeg skal nok vente, for det lovte jeg sist, for det lovte jeg sist.<\/strong>\n\n<strong>Gud styrke deg hvor du i verden g\u00e5r, i verden g\u00e5r!<\/strong>\n<strong>Gud glede deg hvis du for hans fotskammel st\u00e5r, for hans fotskammel st\u00e5r!<\/strong>\n<strong>Her skal jeg vente til du kommer igjen, du kommer igjen, og venter du hist oppe vi treffes der, min venn, vi treffes der, min venn!<\/strong><\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>Solveig is Peer Gynt\u2019s faithful love who waits for him throughout an entire lifetime, and in &laquo;Solveig\u2019s Song&raquo;, this longing and faithfulness are expressed while Peer is simultaneously in Egypt.<\/p>\n\n\n\n<p>As on several previous occasions, Storm is once again quite bold, displaying a great deal of self-confidence as they expand and alter a classic text to support their own message. This clearly demonstrates a lack of respect for authority, while the use of these old texts simultaneously links Storm&#8217;s and black metal&#8217;s agenda closely to the National Romantic project. It should be noted that Ibsen&#8217;s relationship with National Romanticism is not entirely settled and remains a subject of ongoing debate.<\/p>\n\n\n\n<p>There is also a clear break between Ibsen\u2019s text and the section added by Storm. For one thing, there are differences in quality, but there is also a shift in perspective. Ibsen\u2019s &laquo;men en gang vil du komme det vet jeg visst \/ But I know that you will come at last&raquo; expresses Solveig\u2019s longing for Peer, and the &laquo;du\/you&raquo; in the sentence refers to him. Storm then removes Ibsen\u2019s subsequent line, &laquo;og jeg skal nok vente, for det lovte jeg sist \/ And I shall wait, for I promised you, dear&raquo;, replacing it with the sentence, &laquo;For her har du landet og den du har kj\u00e6r \/ For here you have the land and the one you hold dear&raquo;. Consequently, the focus shifts far beyond Solveig\u2019s longing and toward the nation itself. The National Romantic perspective is thus introduced through a single sentence. The reference to Peer as &laquo;du\/you&raquo; in &laquo;her har du landet \/ here you have the land&raquo; and to Solveig in &laquo;den du har kj\u00e6r \/  the one you hold dear&raquo; \u2013 where Solveig seemingly still addresses Peer about waiting for him \u2013 is the last we hear of the relationship between Solveig and Peer in Storm\u2019s version.<\/p>\n\n\n\n<p>The rest of the text is a tribute to the country, and Peer is forgotten in the National Romantic absorption. We understand that not only Peer, but also Solveig and her profound longing have disappeared from this version, and that the &laquo;du\/you&raquo; in Ibsen&#8217;s &laquo;men en gang vil du komme det vet jeg visst \/ But I know that you will come at last&raquo; does not refer to Peer, but to the land as it was before Christianization. In this light, the sentence &laquo;For her har du landet og den du har kj\u00e6r \/ For here you have the land and the one you hold dear&raquo; stands as a strange anomaly between Ibsen\u2019s and Storm\u2019s perspectives\u2014a transitional sentence that could have been handled more smoothly. Ideally, that sentence should have been cut so that &laquo;du \/ you&raquo; could more unambiguously refer to this promised land of old. Alternatively, the subordinate clause &laquo;den du har kj\u00e6r \/ the one you hold dear&raquo; could have been written as &laquo;<strong>det<\/strong> du har <strong>kj\u00e6rt<\/strong> \/ <strong>that<\/strong> which you hold <strong>dear<\/strong>,&raquo; which would have provided the correct reference.<\/p>\n\n\n\n<p>That it is the ancient Old Norse Norway being longed for is clearly evident in the next three lines added by Storm, included my English translation:<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">F\u00f8r jeg igjen se det ganske land, det ganske land<br>Der forfedre kjempet for retten til liv, for retten til liv<br>Skal jeg atter se ut over mektige fjell, og li og dal og skog og fjord<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Before I again see the whole land, the whole land<br>Where ancestors fought for the right to life, for the right to life<br>I shall once more look out over mighty mountains, and hillsides and valleys and forests and fjords.<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>The front line is clear that they are waiting for this bygone land to return, where people fought for their lives in a more authentic way.<\/p>\n\n\n\n<p>The third line seems to me to be inspired by another poem set to music by Edvard Grieg, namely Aasmund Olavsson Vinje&#8217;s poem &laquo;Ved Rundarne&raquo; from the collection <em>Ferdaminni fraa Sumaren 1860<\/em>.<sup data-fn=\"5265a93f-cf42-4121-af17-b054e49b6cd6\" class=\"fn\"><a href=\"#5265a93f-cf42-4121-af17-b054e49b6cd6\" id=\"5265a93f-cf42-4121-af17-b054e49b6cd6-link\">66<\/a><\/sup> This poem begins like this, included my English translation:<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">No seer eg atter slike Fj\u00f8ll og Dalar<\/pre>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<pre class=\"wp-block-verse\">Now I see such mountains and valleys again.<\/pre>\n<\/div>\n<\/div>\n\n\n\n<p>Eller i Olav Midttuns mer moderne form med tittelen \u00abVed Rondane\u00bb:<sup data-fn=\"3714d476-732d-497b-ac1b-50c301dfa70c\" class=\"fn\"><a href=\"#3714d476-732d-497b-ac1b-50c301dfa70c\" id=\"3714d476-732d-497b-ac1b-50c301dfa70c-link\">67<\/a><\/sup><\/p>\n\n\n\n<pre class=\"wp-block-verse\">No ser eg atter slike fjell og dalar<\/pre>\n\n\n\n<p>This is a poem that most people are familiar with, or at least the first line, and it is not unlikely that it was in the back of the minds of the members of Storm when they wrote the lyrics for &laquo;Oppunder Skrent og Villmark&raquo;.<\/p>\n\n\n\n<p>I also consider it quite likely that the phrase that gave the song its name, &laquo;Oppunder skrent og villmark&raquo; (At the foot of cliffs and wilderness), was inspired by the line &laquo;Eg bur oppunder fjell&raquo; (I live at the foot of the mountain) from the song &laquo;Haavard Hedde&raquo;.<\/p>\n\n\n\n<p>In the following lines: &laquo;Jeg skal atter se utover mektige fjell, og li og dal og skog og fjord \/ Her i v\u00e5rt rike stor og h\u00f8y&raquo; \/ &laquo;I shall once again gaze out over mighty mountains, and hillside and valley and forest and fjord \/ Here in our kingdom great and tall&raquo;, the last line is a bit strange. What does &laquo;stor og h\u00f8y \/ great and tall&raquo; actually refer to here? If it were &laquo;v\u00e5rt rike \/ our kingdom,&raquo; it should have been inflected in the neuter form as &laquo;stort og h\u00f8yt \/ great and tall&raquo; If we are to take what is written literally, it must point back to the &laquo;I&raquo; in &laquo;Jeg skal atter se utover \/ I shall once again gaze.&raquo; If this is correct, it reaffirms the black metal protagonist&#8217;s feeling of standing above others.<\/p>\n\n\n\n<p>&laquo;Oppunder Skrent og Villmark&raquo; concludes with the words: &laquo;&#8216;Ja, selv guder m\u00e5 d\u00f8, n\u00e5r alteret synker i st\u00f8v og de som tror p\u00e5 dem er d\u00f8de.&#8217; \/ &laquo;&#8216;Yes, even gods must die, when the altar sinks into dust and those who believe in them are dead'&raquo;. These are placed in quotation marks in my rendition of the text because the lines come from a different perspective than the rest of the song, as if <em>sub specie aeternitatis<\/em>\u2014from the viewpoint of eternity. I cannot find these lines reproduced anywhere other than in this song, so they must be Storm&#8217;s own original creation, and it is Nagell who delivers them. It is reminiscent of Anne Holtsmark\u2019s account of the V\u00f6lva\u2019s vision from <em>V\u00f6lusp\u00e1<\/em>, as presented in the book <em>Norr\u00f8n mytologi: Tro og myter i vikingtiden<\/em> (Old Norse Mythology: Beliefs and Myths in the Viking Age):<sup data-fn=\"f43b7d00-df74-432f-8b5f-3c0d7d2b3dfb\" class=\"fn\"><a href=\"#f43b7d00-df74-432f-8b5f-3c0d7d2b3dfb\" id=\"f43b7d00-df74-432f-8b5f-3c0d7d2b3dfb-link\">68<\/a><\/sup><\/p>\n\n\n\n<pre class=\"wp-block-verse\"><em>Ragnarok<\/em> er guders undergang; v\u00e5r verden og v\u00e5re guder m\u00e5 d\u00f8 og vike plassen for nye:\n    Opp ser hun stige     for annen gang\n    jord av havet,      eviggr\u00f8nn\nS\u00f8nner av de gamle guder skal bo i den nye verden.<\/pre>\n\n\n\n<p>And now in my English translation:<\/p>\n\n\n\n<pre class=\"wp-block-verse\">Ragnarok is the doom of the gods; our world and our gods must die and make way for new ones:<br>    Now do I see     the earth anew<br>    Rise all green     from the waves again;<br>Sons of the old gods shall live in the new world.<sup data-fn=\"45d56198-7618-4027-a37f-defd84d1e4cc\" class=\"fn\"><a href=\"#45d56198-7618-4027-a37f-defd84d1e4cc\" id=\"45d56198-7618-4027-a37f-defd84d1e4cc-link\">69<\/a><\/sup><\/pre>\n\n\n\n<p>The god who in Storm\u2019s case must die is the Christian God, and it is the altars to his honor and his faithful followers who shall pass out of time along with this god. Out of the dust, a new world shall arise, with new values and moral codes.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"konklusjon\">Conclusion<\/h2>\n\n\n\n<p>Storm\u2019s Nordavind is a renowned release. It represents the pinnacle of Norwegian black metal\u2019s quest for National Romantic roots to which it could cling, in order to anchor and justify its re-enchanting millenarianism, irrationality, and individualism.<\/p>\n\n\n\n<p>Black metal&#8217;s National Romanticism points back to a time when the stout individual stood against the suggestive power of the herd, natural forces, and fate \u2013 like Nors\u00f8nn against the Scottish expedition, like Haavard Hedde in his life&#8217;s struggle against nature and betrayal, like Asbj\u00f8rn of Medalhus against royal power and Christianity, like Pillarguri&#8217;s heroic signal of attack against the invaders, like the milkmaids who seek refuge from the crowds in the valley and fight against intruders and Christian blood, and who, with the cows finally in the enclosure, can rest in the dark, good night, in a long night&#8217;s journey toward a new day, a new re-enchanted future built upon the Old Norse past concealed by Christianity.<\/p>\n\n\n\n<p>Black metal also points away from the rationality of the Enlightenment, into the re-enchanted forests of Romanticism where sprites and trolls are once again brought to life \u2013 like Villemann\u2019s interaction with his master, the neck; like the girl, or is it the huldra, who lures her boy to her special, mystical place up on the hill where the trees cast shadows, the moss is soft, and fairytales still live; like the Norwegian&#8217;s fascination with the playful fish in the churning depths of the sea; and like the life of the superman on the foot of cliffs and wilderness, gazing out upon the transience of gods.<\/p>\n\n\n\n<p>The new re-enchanted era shall cultivate a human being who is close to nature, upright, capable, and stout, fighting hard for primordial Norwegian core values, with a solid code of honor, sincerity, and \u2013 not least \u2013 a strong resistance to following the herd. The forests shall once again hold the mystery and the depths of the human soul, where goblins and trolls tumble, satyrs entice, and where the neck plays you into a state of intoxication.<\/p>\n\n\n\n<p>Black metal, as it manifested in Norway in the 1990s, represents a turn away from modernity and back toward former glory, but also toward a re-enchanted world where mysticism and sensuality \u2013 the pre-theoretical experience \u2013 thrive; much as political philosopher Arthur M. Melzer describes, albeit in a different context, how the modern mindset is built on a progressive understanding of theory that detaches it from the richness of lived experience:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>Modern thought is built on the opposite hope that by its success in transforming, enlightening, and disenchanting the world and by its continual progress in explaining the kind of things that it can explain, it will cause all testimony to or experience of the kind of things that it cannot explain to simply wither away. The world of traditional society, with its spirits, gods, and poets, will simply disappear, refuted by history. In short, modern thought hopes to legitimize itself precisely through the obliteration of pretheoretical experience.<\/p>\n<cite><em>Melzer (2014\/2017), p. 366.<\/em><\/cite><\/blockquote>\n\n\n\n<p>Perhaps the most apolitical, nationalistic and, in a sense, unsettling aspect of black metal\u2019s project \u2013 as evidenced in Storm\u2019s <em>Nordavind<\/em> and the subsequent controversy \u2013 is the unwillingness to engage in discussion and dialogue about the project. This mirrors Darkthrone\u2019s rejection of the criticism leveled against the release <em>Transilvanian Hunger<\/em>. It appears that Drew Daniel (2014) is onto something in his claim that black metal is anti-political; that it positions itself, as it were, in the shadows of political reality, in the night of obscurity, making it difficult to grasp.<\/p>\n\n\n\n<p>Black metal is perceived more as a cult with a parallel worldview than as a genuine ideological opponent. This may be part of the reason why law enforcement and the press failed to get a proper grasp of black metal\u2019s ideology during the era of church burnings and murders in the early nineties, quickly falling into a narrow, Satanic narrative.<\/p>\n\n\n\n<p>Drew Daniel utilizes the French philosopher Alain Badiou&#8217;s concept of &laquo;occultation&raquo; to describe what Badiou calls &laquo;the descent of th[e] present into the night of non-exposition&raquo;.<sup data-fn=\"7792924a-0054-47e4-86d1-7225eb9cd929\" class=\"fn\"><a href=\"#7792924a-0054-47e4-86d1-7225eb9cd929\" id=\"7792924a-0054-47e4-86d1-7225eb9cd929-link\">70<\/a><\/sup> Badiou uses the term to describe three possible ways of encountering political events: by embracing them, denying them, or occulting them \u2013 that is, obscuring them.<\/p>\n\n\n\n<p>Badiou claims that meeting political events with occultation means diving into a night of obscurity, where the possibilities for achieving political truths are suppressed. This night of obscurity, he argues, must be produced under entirely new conditions expressed through the bodies of the rebels and the use of symbols.<\/p>\n\n\n\n<p>For Drew Daniel, the black metal protagonist&#8217;s corpse paint becomes a powerful symbol of the occultation of melancholy, or rather, the darkening of melancholy that he believes black metal represents. The black metal protagonist, Daniel claims, &laquo;chooses to drown the present in a fog of black bile&raquo;.<sup data-fn=\"729fe3ba-4752-4f83-ba13-5e79409dc7d5\" class=\"fn\"><a href=\"#729fe3ba-4752-4f83-ba13-5e79409dc7d5\" id=\"729fe3ba-4752-4f83-ba13-5e79409dc7d5-link\">71<\/a><\/sup><\/p>\n\n\n\n<p>Choosing melancholy thus becomes, for Daniel, a type of anti-political act, serving as a third alternative to either embracing or denying reality. Daniel describes the black metal protagonist\u2019s temporal &laquo;revolt against living within the present as such, a flight not simply backwards, but <em>out of time<\/em>&laquo;.<sup data-fn=\"ce09aceb-c86d-4e69-8977-b57a53e9ddf3\" class=\"fn\"><a href=\"#ce09aceb-c86d-4e69-8977-b57a53e9ddf3\" id=\"ce09aceb-c86d-4e69-8977-b57a53e9ddf3-link\">72<\/a><\/sup> Through melancholy\u2019s darkening of the present and a nostalgic, backward-looking movement, the black metal character positions itself beyond reality.<\/p>\n\n\n\n<p>I am, however, tempted to say that Storm, through <em>Nordavind<\/em>, despite its violent outbursts against Christians, largely paints a more positive picture of a possible alternative reality than what Drew Daniel identifies as typical of black metal. And this essentially permeates the work of these two figures in particular, Nagell and Wongraven. Nagell considers humor to be the most important thing in his life, alongside music and nature. He is constantly changing his mind and believes it is important to be in a state of flux. When asked by Mode Steinkjer if he could imagine living in another era, he says that he thrives in the time he is in.<\/p>\n\n\n\n<p>Wongraven er som Nagell p\u00e5 denne tiden sterkt i opposisjon, noe han som Nagell har tonet ned i senere \u00e5r. Han er allerede da en seri\u00f8s og hardtarbeidende artist som stadig utfordrer seg selv b\u00e5de musikalsk og p\u00e5 andre arenaer, og med et helt annet kommersielt driv enn Nagell. Han er reflektert og s\u00f8ker seg tilsynelatende ut av de enkle sannhetene som ungdomstiden b\u00e6rer med seg, men klarer enn\u00e5 ikke p\u00e5 denne tiden \u00e5 komme seg ut av opposisjonens tvingende n\u00f8dvendighet. Han har som Nagell en sterk dragning mot naturen og det m\u00f8rke i mennesket.<\/p>\n\n\n\n<p>At this time, Wongraven, like Nagell, was strongly in opposition \u2013 a stance that he, like Nagell, has toned down in later years. Even then, he was a serious and hardworking artist who constantly challenged himself both musically and in other arenas, and he possessed a completely different commercial drive than Nagell. He is reflective and seemingly seeks to move beyond the simple truths of youth, yet at this point, he is not yet able to escape the compelling necessity of being in opposition. Like Nagell, he has a strong attraction to nature and the darkness within humanity.<\/p>\n\n\n\n<p>That Nordavind is National Romantic is beyond any doubt. It is, after all, printed on the release itself. The question is, how nationalist is it?<\/p>\n\n\n\n<p>In the interview with Mode Steinkjer in Puls,<sup data-fn=\"072b61da-dd32-4eff-98b7-79ec53b1cb03\" class=\"fn\"><a href=\"#072b61da-dd32-4eff-98b7-79ec53b1cb03\" id=\"072b61da-dd32-4eff-98b7-79ec53b1cb03-link\">73<\/a><\/sup> Wongraven is clear that he has nothing against Christian people, but rather objects to Christianity as an institution and a power structure that traps and oppresses people. However, the outbursts directed at Christianity and Christians by Storm on <em>Nordavind<\/em> might suggest otherwise. If there is anything Wongraven regrets, it is likely the way this struggle against Christianity is expressed as a fight against Christian people. In one sense, these are identical because Christianity does not exist without Christian people; however, it is possible to oppose Christianity without opposing its practitioners. Wongraven makes this distinction in the <em>Puls<\/em> interview with Mode Steinkjer during their dialogue about Israel and its inhabitants. In this respect, neither Wongraven nor Nagell seem to be against &laquo;de-Christianized&raquo; people. In a way, black metal ideology seems open to anyone who wishes to enter it, as long as they leave Christianity and slave morality behind, think for themselves, and are sincere in their embrace of it.<\/p>\n\n\n\n<p>National Romanticism is a nationalist movement, but it is of a moderate type that we all recognize from Constitution Day, May 17th, and the description of Norwegian nature. Moderate nationalism, according to the Great Norwegian Encyclopedia, in my translation, &laquo;accepts immigration and the admission of new citizens, but expects adaptation to the country&#8217;s language and customs&raquo;.<sup data-fn=\"44117586-42fd-43a2-bb9d-ab4ae48340b1\" class=\"fn\"><a href=\"#44117586-42fd-43a2-bb9d-ab4ae48340b1\" id=\"44117586-42fd-43a2-bb9d-ab4ae48340b1-link\">74<\/a><\/sup><\/p>\n\n\n\n<p>A more serious form of nationalism is called chauvinism or extreme nationalism. Again, according to the Great Norwegian Encyclopedia, proponents of this form of nationalism insist that, in my translation, &laquo;citizenship should be reserved for children of parents with the same citizenship and are against immigration from what they see as foreign cultural areas&raquo;.<\/p>\n\n\n\n<p>An even more extreme nationalism may claim that ethnic homogeneity has intrinsic value, that its own form of ethnicity is superior to others, and lead to the oppression of minorities, ethnic cleansing, and genocide.<\/p>\n\n\n\n<p>In this respect, <em>Nordavind<\/em> appears to express a fairly moderate form of nationalism \u2013 namely National Romanticism \u2013 with a linguistic style occasionally influenced by more extreme forms of nationalism.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"sporsmal\">Questions<\/h2>\n\n\n\n<p>Although this text answers a number of questions, the observant reader will have noticed that it also poses several questions. Some of these are the following:<\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Who plays the synthesizer on D\u00f8dheimsgard&#8217;s album <em>Kronet til Konge<\/em> (1995)? Is it Gylve Fenris Nagell?<\/li>\n\n\n\n<li>Did Sigurd Wongraven actually regret that Storm portrayed <em>Nordavind<\/em> in a way that could be interpreted as nationalistic? (And here we must assume that extreme nationalism is meant.)<\/li>\n\n\n\n<li>What was the lead-up to Darkthrone&#8217;s dispute with the record label Peaceville; was it the phrase &laquo;Norwegian Aryan Black Metal&raquo; or the phrase &laquo;obviously jewish behaviour&raquo;?<\/li>\n\n\n\n<li>What is the meaning of the notations &laquo;Ny Trad.&raquo; versus &laquo;Trad.&raquo; in the source references for the tracks on <em>Nordavind<\/em>?<\/li>\n\n\n\n<li>Is the poet Edvard Storm&#8217;s surname the origin of the band name Storm?<\/li>\n\n\n\n<li>And are Edvard Storm&#8217;s &laquo;Zinklars vise&raquo; and Folque&#8217;s &laquo;Sinclairvise&raquo; the reason why Nagell and Wongraven traveled to Otta in September 1994?<\/li>\n\n\n\n<li>Have Nagell and Wongraven refrained from making versions of songs recorded by Folque out of respect for Folque?<\/li>\n\n\n\n<li>Which written sources did the band members of Storm use to find the songs they selected for <em>Nordavind<\/em>?<\/li>\n\n\n\n<li>Why did Storm choose to include the folk song &laquo;Haavard Hedde&raquo; on <em>Nordavind<\/em>?<\/li>\n\n\n\n<li>Is Storm&#8217;s version of &laquo;Haavard Hedde&raquo; the reason Sunn O))) recorded &laquo;The Gates of Ballard&raquo; with the same lyrics?<\/li>\n\n\n\n<li>Why did Storm choose to include the folk song &laquo;Villemann&raquo; on <em>Nordavind<\/em>?<\/li>\n\n\n\n<li>Which bluemen is Storm ashamed of in &laquo;Oppi fjellet&raquo;?<\/li>\n\n\n\n<li>What is actually being said in the line &laquo;[&#8230;] kviskrer i m\u00f8rkret&raquo; from the section added by Storm to &laquo;Langt borti lia&raquo;?<\/li>\n\n\n\n<li>And does this added text come from an author other than the members of Storm themselves?<\/li>\n\n\n\n<li>Is there another lyricist for &laquo;Lokk&raquo; other than the members of Storm themselves?<\/li>\n\n\n\n<li>Who are the bluemen in the song &laquo;Noregsgard&raquo;? Is it the Scottish expedition?<\/li>\n\n\n\n<li>What is the text in the line &laquo;For ein [\u2026] h\u00e6r&raquo; in &laquo;Noregsgard&raquo;?<\/li>\n\n\n\n<li>Which folk tune is &laquo;Utferd&raquo; based on?<\/li>\n\n\n\n<li>What happened to Storm&#8217;s follow-up EP to <em>Nordavind<\/em>?<\/li>\n\n\n\n<li>And is the song &laquo;Oppunder skrent og villmark&raquo; from this unreleased EP coming out?<\/li>\n<\/ol>\n\n\n\n<p>If you know the answer to one or more of these questions, please write it in the comments section below. Do the same if you have other comments or input regarding this text. Comments that do not follow proper etiquette or are irrelevant will be deleted.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"kilder\">Sources<\/h2>\n\n\n\n<p>See: <a href=\"https:\/\/morkemeditasjoner.no\/?page_id=847\">Kilder<\/a>.<\/p>\n\n\n<ol class=\"wp-block-footnotes\"><li id=\"ba3eecea-11eb-4993-8cf6-a60a39e96ce0\">Not to be confused with the heavy metal band Storm from Trondheim who were active from 1980\u20131983. They released a Norwegian-language album called <em>Stille f\u00f8r stormen<\/em> in 1982. Storm (1982). <a href=\"#ba3eecea-11eb-4993-8cf6-a60a39e96ce0-link\" aria-label=\"Hopp til fotnote-referansen 1\">\u21a9\ufe0e<\/a><\/li><li id=\"f5baa8e1-2a95-4f40-8876-d8658e1d9c3a\">The 3rd and the Mortals&#8217; debut, the EP <em>Sorrow<\/em> (1994), was released on the record label Head Not Found, run by Jon &laquo;Metallion&raquo; Kristiansen who also released, among others, Gehennas EP <em>First Spell<\/em> (1994) [EP], and Ulvers <em>Bergtatt \u2013 Et Eeventyr i 5 Capitler<\/em> (1995) before Voices of Wonder Records took over. <a href=\"#f5baa8e1-2a95-4f40-8876-d8658e1d9c3a-link\" aria-label=\"Hopp til fotnote-referansen 2\">\u21a9\ufe0e<\/a><\/li><li id=\"19147776-53a3-4ef7-9923-bc86804aeccd\">The album was recorded in February 1995. <a href=\"#19147776-53a3-4ef7-9923-bc86804aeccd-link\" aria-label=\"Hopp til fotnote-referansen 3\">\u21a9\ufe0e<\/a><\/li><li id=\"92138d0d-9992-4c1a-b27e-3107a0ba72e5\">Nagell claims in several interviews that <em>Sweet Freedom<\/em> was an important source of inspiration for him ever since he received it as a birthday present as a three-year-old from his uncle. See e.g. https:\/\/en.wikipedia.org\/wiki\/Fenriz. Gary Thain is also one of the young people who died in rock. He died at the age of 27 from a heroin overdose on December 8, 1975. <a href=\"#92138d0d-9992-4c1a-b27e-3107a0ba72e5-link\" aria-label=\"Hopp til fotnote-referansen 4\">\u21a9\ufe0e<\/a><\/li><li id=\"6d0fa8d9-b8fc-46c4-9c05-1e215b5f9813\">Moonfog Productions was founded as a subsidiary of Tatra Productions\/Records in 1993, by Tormod Opedal together with Sigurd Wongraven, for the release of black metal. <a href=\"#6d0fa8d9-b8fc-46c4-9c05-1e215b5f9813-link\" aria-label=\"Hopp til fotnote-referansen 5\">\u21a9\ufe0e<\/a><\/li><li id=\"aa1fbd79-eb3c-4bd3-8b6c-569a45a07508\">It seems likely that the use of a double ellipsis (\u2026) after &laquo;Eternal Hails&raquo;, and without a space before the double ellipsis (which is incorrect in Norwegian and American English, and partly incorrect in British English since there are two contradictory practices there) points back to Bathory&#8217;s second album <em>The Return\u2026\u2026<\/em> from 1985. Thomas B\u00f6rje &laquo;Quorthon&raquo; Forsberg explains the title of the album on Bathory&#8217;s official website as follows: &laquo;We wanted people to just read out The Return\u2026\u2026 \u2013 as in a second album or a follow-up \u2013 and then flip the album over to look for a tracking list. Not finding one, what they got was this apocalyptic poem with the song titles woven into it. Only after listening through the album to the end would you get the full title of the album, The Return of the Darkness and Evil&raquo;. According to Wikipedia, Gylve Fenris Nagell has praised the album in several interviews and defined it as &laquo;the essence of black metal&raquo;. One can imagine that the last song on Eternal Hails\u2026\u2026, \u201cLost Arcane City of Upp\u00e5kra\u201d which refers to an old settlement from the Late Iron Age that shows traces of urban development in Sweden, precisely points towards Bathory and Quorthon who came from Sweden, but not Upp\u00e5kra. The lyrics refer to the good old days before Christianity. There are also certain similarities between the cover of Bathory\u2019s <em>The Return\u2026\u2026<\/em> and Darkthrone\u2019s <em>Eternal Hails\u2026\u2026<\/em> where a luminous celestial body is centrally placed on the cover. <a href=\"#aa1fbd79-eb3c-4bd3-8b6c-569a45a07508-link\" aria-label=\"Hopp til fotnote-referansen 6\">\u21a9\ufe0e<\/a><\/li><li id=\"32d884fa-0a68-40ea-864d-5ee8cc12bc17\">Puls (1987), no. 12, December 1987, pp. 46\u201347. <a href=\"#32d884fa-0a68-40ea-864d-5ee8cc12bc17-link\" aria-label=\"Hopp til fotnote-referansen 7\">\u21a9\ufe0e<\/a><\/li><li id=\"7e7635d5-8efa-414e-90e5-fadff404cafa\">Puls (1987), no. 12, December 1987, pp. 46\u201347. <a href=\"#7e7635d5-8efa-414e-90e5-fadff404cafa-link\" aria-label=\"Hopp til fotnote-referansen 8\">\u21a9\ufe0e<\/a><\/li><li id=\"ac744b1b-bc5b-4945-9fd2-0e22d847a50b\">See <a href=\"https:\/\/web.archive.org\/web\/20130112070200\/https:\/\/peaceville.com\/bands\/2194\/\">https:\/\/web.archive.org\/web\/20130112070200\/https:\/\/peaceville.com\/bands\/2194\/<\/a>. <a href=\"#ac744b1b-bc5b-4945-9fd2-0e22d847a50b-link\" aria-label=\"Hopp til fotnote-referansen 9\">\u21a9\ufe0e<\/a><\/li><li id=\"11e32db2-822c-4be5-8ecc-921782ea869b\">See <a href=\"https:\/\/en.wikipedia.org\/wiki\/Transilvanian_Hunger\">https:\/\/en.wikipedia.org\/wiki\/Transilvanian_Hunger<\/a>, visited 29.12.2021. <a href=\"#11e32db2-822c-4be5-8ecc-921782ea869b-link\" aria-label=\"Hopp til fotnote-referansen 10\">\u21a9\ufe0e<\/a><\/li><li id=\"e6e914eb-6163-482b-8341-2f97ab3f4ce4\"><em>Black Metal: Evolution of the Cult<\/em> (2013), pp. 202-203. <a href=\"#e6e914eb-6163-482b-8341-2f97ab3f4ce4-link\" aria-label=\"Hopp til fotnote-referansen 11\">\u21a9\ufe0e<\/a><\/li><li id=\"77b20a94-2584-46e4-a98d-af919fcc4bed\">Sound engineer Kenneth Moen has made around 80 Norwegian releases, but only three metal releases, Storm&#8217;s <em>Nordavind<\/em>, Wongraven&#8217;s <em>Fjelltronen<\/em>, and Satyricon&#8217;s <em>The Shadowthrone<\/em>. See Discogs: <a href=\"https:\/\/www.discogs.com\/artist\/410758\">https:\/\/www.discogs.com\/artist\/410758<\/a>. <a href=\"#77b20a94-2584-46e4-a98d-af919fcc4bed-link\" aria-label=\"Hopp til fotnote-referansen 12\">\u21a9\ufe0e<\/a><\/li><li id=\"40a1705e-db84-403e-9311-5a87569f8551\">Discogs: <a href=\"https:\/\/www.discogs.com\/release\/373477-Storm-Nordavind\">https:\/\/www.discogs.com\/release\/373477-Storm-Nordavind<\/a>. <a href=\"#40a1705e-db84-403e-9311-5a87569f8551-link\" aria-label=\"Hopp til fotnote-referansen 13\">\u21a9\ufe0e<\/a><\/li><li id=\"409ffbd9-57bf-434e-8640-4886b61f6f21\"><sup class=\"modern-footnotes-footnote \" data-mfn=\"2\" data-mfn-post-scope=\"00000000000006ea0000000000000000_3023\"><a href=\"javascript:void(0)\"  role=\"button\" aria-pressed=\"false\" aria-describedby=\"mfn-content-00000000000006ea0000000000000000_3023-2\">2<\/a><\/sup><span id=\"mfn-content-00000000000006ea0000000000000000_3023-2\" role=\"tooltip\" class=\"modern-footnotes-footnote__note\" tabindex=\"0\" data-mfn=\"2\"><a href=\"https:\/\/www.p22.com\/family-Pabst\">https:\/\/www.p22.com\/family-Pabst<\/a><\/span> <a href=\"#409ffbd9-57bf-434e-8640-4886b61f6f21-link\" aria-label=\"Hopp til fotnote-referansen 14\">\u21a9\ufe0e<\/a><\/li><li id=\"84f6a0aa-c50f-4de0-a4c8-b5650e8a70a4\">Vidkun Abraham Lauritz Jonss\u00f8n Quisling was a Norwegian officer, diplomat and politician. During the German occupation of Norway, he led a German-backed government, and after the liberation in 1945, he was convicted of treason and executed by firing squad. Varg Vikernes claims to be a relative to Vidkun Quisling\u00a0through his great-great-grandmother See <a href=\"https:\/\/www.burzum.org\/eng\/library\/2011_interview_druvis.shtml\">https:\/\/www.burzum.org\/eng\/library\/2011_interview_druvis.shtml<\/a>. <a href=\"#84f6a0aa-c50f-4de0-a4c8-b5650e8a70a4-link\" aria-label=\"Hopp til fotnote-referansen 15\">\u21a9\ufe0e<\/a><\/li><li id=\"5cac7e52-9aaf-4502-aa84-6cff1636ecbc\">See <a href=\"https:\/\/no.wikipedia.org\/wiki\/Solkorset\">https:\/\/no.wikipedia.org\/wiki\/Solkorset<\/a>. My translation. <a href=\"#5cac7e52-9aaf-4502-aa84-6cff1636ecbc-link\" aria-label=\"Hopp til fotnote-referansen 16\">\u21a9\ufe0e<\/a><\/li><li id=\"fafefc35-3b08-40df-a722-955cc67d7795\">Morgenbladet no. 3, 21\u201327 January 2022, pp. 42\u201343. My translation. <a href=\"#fafefc35-3b08-40df-a722-955cc67d7795-link\" aria-label=\"Hopp til fotnote-referansen 17\">\u21a9\ufe0e<\/a><\/li><li id=\"17fcf0b7-8208-4faf-8de6-e71920779207\">George Sinclair is incorrectly referred to as Colonel in the song. <a href=\"#17fcf0b7-8208-4faf-8de6-e71920779207-link\" aria-label=\"Hopp til fotnote-referansen 18\">\u21a9\ufe0e<\/a><\/li><li id=\"d7225dad-b0a7-481c-91e6-b977b4c6f40e\">Folque, <em>Folque<\/em> (1974), \u00abSinclairvise\u00bb. <a href=\"#d7225dad-b0a7-481c-91e6-b977b4c6f40e-link\" aria-label=\"Hopp til fotnote-referansen 19\">\u21a9\ufe0e<\/a><\/li><li id=\"4860402f-edfd-4780-b8b7-0e0f94b12d29\">My translation. <a href=\"#4860402f-edfd-4780-b8b7-0e0f94b12d29-link\" aria-label=\"Hopp til fotnote-referansen 20\">\u21a9\ufe0e<\/a><\/li><li id=\"d92fd959-07c1-4b75-a541-57709ca9c7db\">Wikipedia: <a href=\"https:\/\/no.wikipedia.org\/wiki\/Zinklars_vise\">https:\/\/no.wikipedia.org\/wiki\/Zinklars_vise<\/a>. <a href=\"#d92fd959-07c1-4b75-a541-57709ca9c7db-link\" aria-label=\"Hopp til fotnote-referansen 21\">\u21a9\ufe0e<\/a><\/li><li id=\"d5b9b3a7-95c5-4538-8fe8-6b871d6a6e7d\">In 2008, Faroese Viking metallers T\u00fdr included their own version of Zinklars vise under the name &laquo;Sinklars V\u00edsa&raquo; on their album Land. The former singer of T\u00fdr, P\u00f3l Arni Holm, is now the vocalist of Hamradun. They also recorded &laquo;Sinklars Visa&raquo; on their first album Hamradun (2015). Both of these versions, which should probably be called folk metal, would probably be characterized by Nagell as something that should have been deleted. And I have to agree with him. They are two terrible versions. <a href=\"#d5b9b3a7-95c5-4538-8fe8-6b871d6a6e7d-link\" aria-label=\"Hopp til fotnote-referansen 22\">\u21a9\ufe0e<\/a><\/li><li id=\"36b6d04a-ff1c-4a03-8463-34eadec358ad\">The song is taken from Skard, V. (1967) and Holst, H. P., Mellin, G.H. &amp; Munch, A. (1870). <a href=\"#36b6d04a-ff1c-4a03-8463-34eadec358ad-link\" aria-label=\"Hopp til fotnote-referansen 23\">\u21a9\ufe0e<\/a><\/li><li id=\"f901d3dc-a18d-4a60-ad00-1d91c29be90b\">Another band with almost the same name as Storm, namely Stormti, also clearly inspired by Edvard Storm, made an album in 1993 called <em>Edvard Storm \u2013 Viso I Gomol Og Ny Drakt<\/em> where \u201cZinklars Vise\u201d is included in a slightly different version than Folque\u2019s version. In 1996 the album <em>Tidlause Tonar<\/em> was released where the song \u201cAagots Fjeldsang\u201d is included. As we will see, Storm\u2019s \u201cNagellstev\u201d is based on a version of this song. I know nothing about Stormti, and there is nothing to be found online either. <a href=\"#f901d3dc-a18d-4a60-ad00-1d91c29be90b-link\" aria-label=\"Hopp til fotnote-referansen 24\">\u21a9\ufe0e<\/a><\/li><li id=\"b566bec2-3aa5-40fd-8986-ca150a39836c\">Sturlason (1980), p. 91. <a href=\"#b566bec2-3aa5-40fd-8986-ca150a39836c-link\" aria-label=\"Hopp til fotnote-referansen 25\">\u21a9\ufe0e<\/a><\/li><li id=\"2b327f11-b3be-4bef-884b-4df4f3c72b4f\">Frans-Arne H. Stylegar writes in my translation from Norwegian: &laquo;The church&#8217;s campaign against horse meat dates back to the first half of the 700s, when Pope Gregory III ordered St. Boniface, the apostle of Germany, to prohibit the eating of horse meat among the new converts because of the connection between the pagan rituals of the Germans and the eating of horse meat. Already in late antiquity, the Romans had considered eating horse meat to be something particularly pagan.&raquo; http:\/\/arkeologi.blogspot.com\/2013\/03\/smaken-av-hest.html <a href=\"#2b327f11-b3be-4bef-884b-4df4f3c72b4f-link\" aria-label=\"Hopp til fotnote-referansen 26\">\u21a9\ufe0e<\/a><\/li><li id=\"ce91c5a4-cab7-4a01-9466-95f81741c094\">&laquo;The winter thereafter the king prepared a Yule feast in More, and eight chiefs resolved with each other to meet at it. Four of them were from without the Throndhjem district\u2014namely, Kar of Gryting, Asbjorn of Medalhus, Thorberg of Varnes, and Orm from Ljoxa; and from the Throndhjem district, Botolf of Olvishaug, Narfe of Staf in Veradal, Thrand Hak from Egg, and Thorer Skeg from Husaby in Eyin Idre. These eight men bound themselves, the four first to root out Christianity in Norway, and the four others to oblige the king to offer sacrifice to the gods.&raquo; <a href=\"https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0078\">https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0078<\/a>. <a href=\"#ce91c5a4-cab7-4a01-9466-95f81741c094-link\" aria-label=\"Hopp til fotnote-referansen 27\">\u21a9\ufe0e<\/a><\/li><li id=\"97567568-6b0b-42e7-89da-3e2aac65fdc0\"><a href=\"https:\/\/en.wikipedia.org\/wiki\/Nordmannen\">https:\/\/en.wikipedia.org\/wiki\/Nordmannen<\/a>. <a href=\"#97567568-6b0b-42e7-89da-3e2aac65fdc0-link\" aria-label=\"Hopp til fotnote-referansen 28\">\u21a9\ufe0e<\/a><\/li><li id=\"cca0720a-39e8-49e6-9bbf-e58013032cd6\">See <a href=\"https:\/\/www.nynorsk.no\/ivar-aasen\/nordmannen\/korrekt-versjon-nordmannen\/\">https:\/\/www.nynorsk.no\/ivar-aasen\/nordmannen\/korrekt-versjon-nordmannen\/<\/a>. <a href=\"#cca0720a-39e8-49e6-9bbf-e58013032cd6-link\" aria-label=\"Hopp til fotnote-referansen 29\">\u21a9\ufe0e<\/a><\/li><li id=\"2a7ab8be-f512-4991-ae48-0c1ec6d4f187\">See <a href=\"https:\/\/en.wikipedia.org\/wiki\/Isengard\">https:\/\/en.wikipedia.org\/wiki\/Isengard<\/a> og <a href=\"https:\/\/no.wikipedia.org\/wiki\/Jarnagard\">https:\/\/no.wikipedia.org\/wiki\/Jarnagard<\/a>. <a href=\"#2a7ab8be-f512-4991-ae48-0c1ec6d4f187-link\" aria-label=\"Hopp til fotnote-referansen 30\">\u21a9\ufe0e<\/a><\/li><li id=\"f48ee3b5-83d7-4e01-b9fe-7c13ae64c532\">See Wikipedia <a href=\"https:\/\/en.wikipedia.org\/wiki\/Theatre_War\">https:\/\/en.wikipedia.org\/wiki\/Theatre_War<\/a>. <a href=\"#f48ee3b5-83d7-4e01-b9fe-7c13ae64c532-link\" aria-label=\"Hopp til fotnote-referansen 31\">\u21a9\ufe0e<\/a><\/li><li id=\"2d05aa9c-5192-4175-bd48-bcc77561c7e7\">Another unflattering incident in Haavard Folkesson Helle&#8217;s life was that, at the age of 17, he narrowly escaped a sodomy conviction for having had sex with a cow. See <a href=\"https:\/\/lokalhistoriewiki.no\/wiki\/H\u00e5vard_Hedde\">https:\/\/lokalhistoriewiki.no\/wiki\/H\u00e5vard_Hedde<\/a>. <a href=\"#2d05aa9c-5192-4175-bd48-bcc77561c7e7-link\" aria-label=\"Hopp til fotnote-referansen 32\">\u21a9\ufe0e<\/a><\/li><li id=\"efedd294-6d48-43ce-b479-2cc126e99c8b\">See <a href=\"https:\/\/sunn.bandcamp.com\/track\/the-gates-of-ballard\">https:\/\/sunn.bandcamp.com\/track\/the-gates-of-ballard<\/a>. <a href=\"#efedd294-6d48-43ce-b479-2cc126e99c8b-link\" aria-label=\"Hopp til fotnote-referansen 33\">\u21a9\ufe0e<\/a><\/li><li id=\"2b8281f5-0954-416a-a57a-12a065412cec\">A version exists in Buen, Myhren &amp; Garn\u00e5s (1978), pp. 208\u2013209. <a href=\"#2b8281f5-0954-416a-a57a-12a065412cec-link\" aria-label=\"Hopp til fotnote-referansen 34\">\u21a9\ufe0e<\/a><\/li><li id=\"10a02177-40b2-47ca-8015-67f7c91e8eb5\">See Buen, Myhren &amp; Garn\u00e5s (1978), pp. 208\u2013209. <a href=\"#10a02177-40b2-47ca-8015-67f7c91e8eb5-link\" aria-label=\"Hopp til fotnote-referansen 35\">\u21a9\ufe0e<\/a><\/li><li id=\"675f581d-c45e-4408-942c-051afb0cc33f\">See <a href=\"https:\/\/snl.no\/Fjeldeventyret\">https:\/\/snl.no\/Fjeldeventyret<\/a>. <a href=\"#675f581d-c45e-4408-942c-051afb0cc33f-link\" aria-label=\"Hopp til fotnote-referansen 36\">\u21a9\ufe0e<\/a><\/li><li id=\"0c37237f-5a8d-4bb5-b381-c7e72be700fe\">Summary taken from <a href=\"https:\/\/snl.no\/Fjeldeventyret\">https:\/\/snl.no\/Fjeldeventyret<\/a>. <a href=\"#0c37237f-5a8d-4bb5-b381-c7e72be700fe-link\" aria-label=\"Hopp til fotnote-referansen 37\">\u21a9\ufe0e<\/a><\/li><li id=\"45f06183-f43d-44fb-bd67-7556634a59b8\">See <a href=\"https:\/\/snl.no\/lokk\">https:\/\/snl.no\/lokk<\/a>. <a href=\"#45f06183-f43d-44fb-bd67-7556634a59b8-link\" aria-label=\"Hopp til fotnote-referansen 38\">\u21a9\ufe0e<\/a><\/li><li id=\"f4fdfe93-0834-44bf-ad94-e4f3eb209db6\">Semb (1922\/1991), p. 303. Slightly modernized version of Janson&#8217;s original poem &laquo;Paa fjellet&raquo;, pp. 33\u201334. A fifth stanza has also been removed. The melody was one of the most famous folk tunes of the 19th century. <a href=\"#f4fdfe93-0834-44bf-ad94-e4f3eb209db6-link\" aria-label=\"Hopp til fotnote-referansen 39\">\u21a9\ufe0e<\/a><\/li><li id=\"f30122c0-8483-42d8-bde2-f70fd655f6f4\">Puls (1995), no. 8, p. 7. <a href=\"#f30122c0-8483-42d8-bde2-f70fd655f6f4-link\" aria-label=\"Hopp til fotnote-referansen 40\">\u21a9\ufe0e<\/a><\/li><li id=\"94ed848c-698c-4788-a9ec-8e880dbfdeb3\">Puls (1995), no. 8, p. 7. <a href=\"#94ed848c-698c-4788-a9ec-8e880dbfdeb3-link\" aria-label=\"Hopp til fotnote-referansen 41\">\u21a9\ufe0e<\/a><\/li><li id=\"971a8c6a-64b7-4f7f-8f36-17a3e7582e09\">Norwegian Wikipedia states the following regarding <em>bl\u00e5menn<\/em>: &laquo;Bl\u00e5mann (plural: bl\u00e5menn), or <em>bl\u00e1ma\u00f0r<\/em> in Old Norse, was the name used by the ancient Norse for people with dark skin, meaning &#8216;negroes&#8217; and Moors, i.e., North Africans. The word is used, among other things, in folk ballads from the Middle Ages. In the past, <em>bl\u00e1<\/em> could mean blue, dark blue, and black.&raquo; <a href=\"https:\/\/no.wikipedia.org\/wiki\/Bl\u00e5menn\">https:\/\/no.wikipedia.org\/wiki\/Bl\u00e5menn<\/a>. <a href=\"#971a8c6a-64b7-4f7f-8f36-17a3e7582e09-link\" aria-label=\"Hopp til fotnote-referansen 42\">\u21a9\ufe0e<\/a><\/li><li id=\"ad06d7d1-7ebc-4c92-a916-e1c57fd79004\">Snorri (1980), s. 611. <a href=\"#ad06d7d1-7ebc-4c92-a916-e1c57fd79004-link\" aria-label=\"Hopp til fotnote-referansen 43\">\u21a9\ufe0e<\/a><\/li><li id=\"d50faff0-ea44-4546-9acb-7b630d77bd78\"><a href=\"https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0692\">https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0692<\/a>. <a href=\"#d50faff0-ea44-4546-9acb-7b630d77bd78-link\" aria-label=\"Hopp til fotnote-referansen 44\">\u21a9\ufe0e<\/a><\/li><li id=\"56d93129-2888-4ee5-9627-2551da5ead20\">See <a href=\"https:\/\/snl.no\/religionsfrihet\">https:\/\/snl.no\/religionsfrihet<\/a>. <a href=\"#56d93129-2888-4ee5-9627-2551da5ead20-link\" aria-label=\"Hopp til fotnote-referansen 45\">\u21a9\ufe0e<\/a><\/li><li id=\"ad604d8b-3b44-40fe-a4ab-d084366b5f33\">Hodne (1995), pp. 29\u201330. <a href=\"#ad604d8b-3b44-40fe-a4ab-d084366b5f33-link\" aria-label=\"Hopp til fotnote-referansen 46\">\u21a9\ufe0e<\/a><\/li><li id=\"762a7182-4f76-44e2-aa4c-1756f842180d\">L\u00f8we (2012), p. 86. <a href=\"#762a7182-4f76-44e2-aa4c-1756f842180d-link\" aria-label=\"Hopp til fotnote-referansen 47\">\u21a9\ufe0e<\/a><\/li><li id=\"5fc83e96-ba56-41d8-a14b-25be79644b31\">Poulsen (1931), pp. 43\u201348. <a href=\"#5fc83e96-ba56-41d8-a14b-25be79644b31-link\" aria-label=\"Hopp til fotnote-referansen 48\">\u21a9\ufe0e<\/a><\/li><li id=\"1af83e69-fb86-4174-b284-831be30412af\">Retrieved from: <a href=\"https:\/\/snl.no\/Fenrisulven\">https:\/\/snl.no\/Fenrisulven<\/a>. <a href=\"#1af83e69-fb86-4174-b284-831be30412af-link\" aria-label=\"Hopp til fotnote-referansen 49\">\u21a9\ufe0e<\/a><\/li><li id=\"81e98dc9-bfd5-4711-876a-f813816b0fae\">B\u00f8rli, 1970, p. 39. My translation. <a href=\"#81e98dc9-bfd5-4711-876a-f813816b0fae-link\" aria-label=\"Hopp til fotnote-referansen 50\">\u21a9\ufe0e<\/a><\/li><li id=\"c236e697-251f-4e07-b630-195785655329\">It is unclear whether the text here is &laquo;dyr&raquo;. <a href=\"#c236e697-251f-4e07-b630-195785655329-link\" aria-label=\"Hopp til fotnote-referansen 51\">\u21a9\ufe0e<\/a><\/li><li id=\"a49d9826-5d9f-4c48-a537-0c13dcac6d27\">Photo by Daniel Georg Nyblin (1826\u20131910) \u2013 Cropped versions of File:Portrett av Henrik Ibsen, 1863-64.jpg, Offentlig eiendom, <a href=\"https:\/\/commons.wikimedia.org\/w\/index.php?curid=92275309\">https:\/\/commons.wikimedia.org\/w\/index.php?curid=92275309<\/a>. <a href=\"#a49d9826-5d9f-4c48-a537-0c13dcac6d27-link\" aria-label=\"Hopp til fotnote-referansen 52\">\u21a9\ufe0e<\/a><\/li><li id=\"81a5c417-623c-4f75-8db6-e1e19e87e876\">The report is written by E. H., p. 2. <a href=\"https:\/\/www.nb.no\/items\/514dc27e9822c46e00aebf96e0755154\">https:\/\/www.nb.no\/items\/514dc27e9822c46e00aebf96e0755154<\/a>. <a href=\"#81a5c417-623c-4f75-8db6-e1e19e87e876-link\" aria-label=\"Hopp til fotnote-referansen 53\">\u21a9\ufe0e<\/a><\/li><li id=\"11841c09-19bf-45ba-b2e0-e996d320adee\">Tveiten (1952), p. 76. <a href=\"#11841c09-19bf-45ba-b2e0-e996d320adee-link\" aria-label=\"Hopp til fotnote-referansen 54\">\u21a9\ufe0e<\/a><\/li><li id=\"8b7f362d-d7dc-4c7c-b458-660eeac7c16a\">Tveiten (1943), pp. 134\u2013135. <a href=\"#8b7f362d-d7dc-4c7c-b458-660eeac7c16a-link\" aria-label=\"Hopp til fotnote-referansen 55\">\u21a9\ufe0e<\/a><\/li><li id=\"45dca0f3-405b-4536-bf7b-cff838d68564\">Tveiten (1943), pp. 23\u201324. <a href=\"#45dca0f3-405b-4536-bf7b-cff838d68564-link\" aria-label=\"Hopp til fotnote-referansen 56\">\u21a9\ufe0e<\/a><\/li><li id=\"f2531f93-db1d-4dbc-b974-3d1873714c9d\">Garborg (1895\/1993), p. 127. <a href=\"#f2531f93-db1d-4dbc-b974-3d1873714c9d-link\" aria-label=\"Hopp til fotnote-referansen 57\">\u21a9\ufe0e<\/a><\/li><li id=\"66509a1c-4dde-4d3e-8ba6-61c7a26a4e2c\">Garborg (1895\/1993), p. 129. <a href=\"#66509a1c-4dde-4d3e-8ba6-61c7a26a4e2c-link\" aria-label=\"Hopp til fotnote-referansen 58\">\u21a9\ufe0e<\/a><\/li><li id=\"a9234633-bf5d-4143-b8e5-39fc2d6000ff\">Garborg (1895\/1993), p. 130. <a href=\"#a9234633-bf5d-4143-b8e5-39fc2d6000ff-link\" aria-label=\"Hopp til fotnote-referansen 59\">\u21a9\ufe0e<\/a><\/li><li id=\"25fffa44-5119-40a6-bb83-c3c518ba3b34\">According to Wikipedia, <em>Folkemusikktimen<\/em> (which began as <em>Folkemusikkhalvtimen<\/em>) is one of the world&#8217;s oldest regular radio programs and has aired almost continuously since 1931. Leiv Solberg is the fifth host in the program&#8217;s history. <a href=\"#25fffa44-5119-40a6-bb83-c3c518ba3b34-link\" aria-label=\"Hopp til fotnote-referansen 60\">\u21a9\ufe0e<\/a><\/li><li id=\"4c20895a-3d43-4cd4-9af2-3db71c8c073d\">In 2021, Leiv Solberg was awarded the King&#8217;s Medal of Merit. He celebrated the occasion with, among others, his NRK colleague J\u00f8rn Erik Jensen, who once played guitar in Folque and was part of the release of their debut album <em>Folque<\/em> (1974). See <a href=\"https:\/\/www.folkemusikk.no\/leiv-solberg-kongens-fortenstmedalje\/\">https:\/\/www.folkemusikk.no\/leiv-solberg-kongens-fortenstmedalje\/<\/a>. <a href=\"#4c20895a-3d43-4cd4-9af2-3db71c8c073d-link\" aria-label=\"Hopp til fotnote-referansen 61\">\u21a9\ufe0e<\/a><\/li><li id=\"edad097f-c3b0-44d7-bbc8-7318f66e7483\">The artist Erik Werenskiold gave King Olav a resemblance to Fridtjof Nansen in his illustrations, which likely reflects the importance of this king to Norway&#8217;s state formation and identity. <a href=\"#edad097f-c3b0-44d7-bbc8-7318f66e7483-link\" aria-label=\"Hopp til fotnote-referansen 62\">\u21a9\ufe0e<\/a><\/li><li id=\"1dc45081-ff82-4268-a519-1f7231e5bfe6\">The song can be listened to here: <a href=\"https:\/\/youtu.be\/g8VG1M2Wsj0\">https:\/\/youtu.be\/g8VG1M2Wsj0<\/a>. <a href=\"#1dc45081-ff82-4268-a519-1f7231e5bfe6-link\" aria-label=\"Hopp til fotnote-referansen 63\">\u21a9\ufe0e<\/a><\/li><li id=\"d18adcaa-c9ba-4ac2-96eb-4d16fe48c55a\">See <a href=\"https:\/\/snl.no\/Solveigs_sang\">https:\/\/snl.no\/Solveigs_sang<\/a>. <a href=\"#d18adcaa-c9ba-4ac2-96eb-4d16fe48c55a-link\" aria-label=\"Hopp til fotnote-referansen 64\">\u21a9\ufe0e<\/a><\/li><li id=\"ddc6e08c-f0c9-4cb7-81b0-015449627d08\">Ibsen (1867), <em>Peer Gynt: A Dramatic Poem<\/em>, p. 167, <a href=\"https:\/\/archive.org\/details\/peergyntdramatic00ibseuoft\/peergyntdramatic00ibseuoft\/mode\/2up\">https:\/\/archive.org\/details\/peergyntdramatic00ibseuoft\/peergyntdramatic00ibseuoft\/mode\/2up<\/a>. <a href=\"#ddc6e08c-f0c9-4cb7-81b0-015449627d08-link\" aria-label=\"Hopp til fotnote-referansen 65\">\u21a9\ufe0e<\/a><\/li><li id=\"5265a93f-cf42-4121-af17-b054e49b6cd6\">Vinje (1861\/1996), p. 59. <a href=\"#5265a93f-cf42-4121-af17-b054e49b6cd6-link\" aria-label=\"Hopp til fotnote-referansen 66\">\u21a9\ufe0e<\/a><\/li><li id=\"3714d476-732d-497b-ac1b-50c301dfa70c\">Vinje (1864\/1948), p. 155. <a href=\"#3714d476-732d-497b-ac1b-50c301dfa70c-link\" aria-label=\"Hopp til fotnote-referansen 67\">\u21a9\ufe0e<\/a><\/li><li id=\"f43b7d00-df74-432f-8b5f-3c0d7d2b3dfb\">Holtsmark (1970), p. 68. <a href=\"#f43b7d00-df74-432f-8b5f-3c0d7d2b3dfb-link\" aria-label=\"Hopp til fotnote-referansen 68\">\u21a9\ufe0e<\/a><\/li><li id=\"45d56198-7618-4027-a37f-defd84d1e4cc\">The quote from <em>V\u00f6lusp\u00e1<\/em> is taken from <a href=\"https:\/\/www.voluspa.org\/voluspa56-60.htm\">https:\/\/www.voluspa.org\/voluspa56-60.htm<\/a>. <a href=\"#45d56198-7618-4027-a37f-defd84d1e4cc-link\" aria-label=\"Hopp til fotnote-referansen 69\">\u21a9\ufe0e<\/a><\/li><li id=\"7792924a-0054-47e4-86d1-7225eb9cd929\">Badiou (2009), p. 59. <a href=\"#7792924a-0054-47e4-86d1-7225eb9cd929-link\" aria-label=\"Hopp til fotnote-referansen 70\">\u21a9\ufe0e<\/a><\/li><li id=\"729fe3ba-4752-4f83-ba13-5e79409dc7d5\">Daniel (2014), p. 29. <a href=\"#729fe3ba-4752-4f83-ba13-5e79409dc7d5-link\" aria-label=\"Hopp til fotnote-referansen 71\">\u21a9\ufe0e<\/a><\/li><li id=\"ce09aceb-c86d-4e69-8977-b57a53e9ddf3\">Daniel (2014), p. 29. <a href=\"#ce09aceb-c86d-4e69-8977-b57a53e9ddf3-link\" aria-label=\"Hopp til fotnote-referansen 72\">\u21a9\ufe0e<\/a><\/li><li id=\"072b61da-dd32-4eff-98b7-79ec53b1cb03\">Puls (1995), no. 8, p. 7. <a href=\"#072b61da-dd32-4eff-98b7-79ec53b1cb03-link\" aria-label=\"Hopp til fotnote-referansen 73\">\u21a9\ufe0e<\/a><\/li><li id=\"44117586-42fd-43a2-bb9d-ab4ae48340b1\"><sup class=\"modern-footnotes-footnote \" data-mfn=\"3\" data-mfn-post-scope=\"00000000000006ea0000000000000000_3023\"><a href=\"javascript:void(0)\"  role=\"button\" aria-pressed=\"false\" aria-describedby=\"mfn-content-00000000000006ea0000000000000000_3023-3\">3<\/a><\/sup><span id=\"mfn-content-00000000000006ea0000000000000000_3023-3\" role=\"tooltip\" class=\"modern-footnotes-footnote__note\" tabindex=\"0\" data-mfn=\"3\"><a href=\"https:\/\/snl.no\/nasjonalisme\">https:\/\/snl.no\/nasjonalisme<\/a>.<\/span> <a href=\"#44117586-42fd-43a2-bb9d-ab4ae48340b1-link\" aria-label=\"Hopp til fotnote-referansen 74\">\u21a9\ufe0e<\/a><\/li><\/ol><ul class=\"modern-footnotes-list \"><li><span>1<\/span><div>Tegning av Christian Krogh fra <em>Heimskringla<\/em>, 1899-versjonen.<\/div><\/li><li><span>2<\/span><div><a href=\"https:\/\/www.p22.com\/family-Pabst\">https:\/\/www.p22.com\/family-Pabst<\/a><\/div><\/li><li><span>3<\/span><div><a href=\"https:\/\/snl.no\/nasjonalisme\">https:\/\/snl.no\/nasjonalisme<\/a>.<\/div><\/li><\/ul>","protected":false},"excerpt":{"rendered":"<p>In February 1995, the supergroup Storm released their debut album Nordavind, a fusion of old traditional folk tunes and black metal. The Norwegian words storm and nordavind mean &laquo;storm&raquo; and &laquo;north wind&raquo; respectively in English. Storm started as a duo consisting of Sigurd &laquo;Satyr&raquo; Wongraven from Satyricon, and Gylve Fenris &laquo;Fenriz&raquo; Nagell from Darkthrone. Towards [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1030,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"[{\"content\":\"Not to be confused with the heavy metal band Storm from Trondheim who were active from 1980\u20131983. They released a Norwegian-language album called <em>Stille f\u00f8r stormen<\/em> in 1982. Storm (1982).\",\"id\":\"ba3eecea-11eb-4993-8cf6-a60a39e96ce0\"},{\"content\":\"The 3rd and the Mortals' debut, the EP <em>Sorrow<\/em> (1994), was released on the record label Head Not Found, run by Jon \\\"Metallion\\\" Kristiansen who also released, among others, Gehennas EP <em>First Spell<\/em> (1994) [EP], and Ulvers <em>Bergtatt \u2013 Et Eeventyr i 5 Capitler<\/em> (1995) before Voices of Wonder Records took over.\",\"id\":\"f5baa8e1-2a95-4f40-8876-d8658e1d9c3a\"},{\"content\":\"The album was recorded in February 1995.\",\"id\":\"19147776-53a3-4ef7-9923-bc86804aeccd\"},{\"content\":\"Nagell claims in several interviews that <em>Sweet Freedom<\/em> was an important source of inspiration for him ever since he received it as a birthday present as a three-year-old from his uncle. See e.g. https:\/\/en.wikipedia.org\/wiki\/Fenriz. Gary Thain is also one of the young people who died in rock. He died at the age of 27 from a heroin overdose on December 8, 1975.\",\"id\":\"92138d0d-9992-4c1a-b27e-3107a0ba72e5\"},{\"content\":\"Moonfog Productions was founded as a subsidiary of Tatra Productions\/Records in 1993, by Tormod Opedal together with Sigurd Wongraven, for the release of black metal.\",\"id\":\"6d0fa8d9-b8fc-46c4-9c05-1e215b5f9813\"},{\"content\":\"It seems likely that the use of a double ellipsis (\u2026) after \\\"Eternal Hails\\\", and without a space before the double ellipsis (which is incorrect in Norwegian and American English, and partly incorrect in British English since there are two contradictory practices there) points back to Bathory's second album <em>The Return\u2026\u2026<\/em> from 1985. Thomas B\u00f6rje \\\"Quorthon\\\" Forsberg explains the title of the album on Bathory's official website as follows: \\\"We wanted people to just read out The Return\u2026\u2026 \u2013 as in a second album or a follow-up \u2013 and then flip the album over to look for a tracking list. Not finding one, what they got was this apocalyptic poem with the song titles woven into it. Only after listening through the album to the end would you get the full title of the album, The Return of the Darkness and Evil\\\". According to Wikipedia, Gylve Fenris Nagell has praised the album in several interviews and defined it as \\\"the essence of black metal\\\". One can imagine that the last song on Eternal Hails\u2026\u2026, \u201cLost Arcane City of Upp\u00e5kra\u201d which refers to an old settlement from the Late Iron Age that shows traces of urban development in Sweden, precisely points towards Bathory and Quorthon who came from Sweden, but not Upp\u00e5kra. The lyrics refer to the good old days before Christianity. There are also certain similarities between the cover of Bathory\u2019s <em>The Return\u2026\u2026<\/em> and Darkthrone\u2019s <em>Eternal Hails\u2026\u2026<\/em> where a luminous celestial body is centrally placed on the cover.\",\"id\":\"aa1fbd79-eb3c-4bd3-8b6c-569a45a07508\"},{\"content\":\"Puls (1987), no. 12, December 1987, pp. 46\u201347.\",\"id\":\"32d884fa-0a68-40ea-864d-5ee8cc12bc17\"},{\"content\":\"Puls (1987), no. 12, December 1987, pp. 46\u201347.\",\"id\":\"7e7635d5-8efa-414e-90e5-fadff404cafa\"},{\"content\":\"See <a href=\\\"https:\/\/web.archive.org\/web\/20130112070200\/https:\/\/peaceville.com\/bands\/2194\/\\\">https:\/\/web.archive.org\/web\/20130112070200\/https:\/\/peaceville.com\/bands\/2194\/<\/a>.\",\"id\":\"ac744b1b-bc5b-4945-9fd2-0e22d847a50b\"},{\"content\":\"See <a href=\\\"https:\/\/en.wikipedia.org\/wiki\/Transilvanian_Hunger\\\">https:\/\/en.wikipedia.org\/wiki\/Transilvanian_Hunger<\/a>, visited 29.12.2021.\",\"id\":\"11e32db2-822c-4be5-8ecc-921782ea869b\"},{\"content\":\"<em>Black Metal: Evolution of the Cult<\/em> (2013), pp. 202-203.\",\"id\":\"e6e914eb-6163-482b-8341-2f97ab3f4ce4\"},{\"content\":\"Sound engineer Kenneth Moen has made around 80 Norwegian releases, but only three metal releases, Storm's <em>Nordavind<\/em>, Wongraven's <em>Fjelltronen<\/em>, and Satyricon's <em>The Shadowthrone<\/em>. See Discogs: <a href=\\\"https:\/\/www.discogs.com\/artist\/410758\\\">https:\/\/www.discogs.com\/artist\/410758<\/a>.\",\"id\":\"77b20a94-2584-46e4-a98d-af919fcc4bed\"},{\"content\":\"Discogs: <a href=\\\"https:\/\/www.discogs.com\/release\/373477-Storm-Nordavind\\\">https:\/\/www.discogs.com\/release\/373477-Storm-Nordavind<\/a>.\",\"id\":\"40a1705e-db84-403e-9311-5a87569f8551\"},{\"content\":\"<mfn><a href=\\\"https:\/\/www.p22.com\/family-Pabst\\\">https:\/\/www.p22.com\/family-Pabst<\/a><\/mfn>\",\"id\":\"409ffbd9-57bf-434e-8640-4886b61f6f21\"},{\"content\":\"Vidkun Abraham Lauritz Jonss\u00f8n Quisling was a Norwegian officer, diplomat and politician. During the German occupation of Norway, he led a German-backed government, and after the liberation in 1945, he was convicted of treason and executed by firing squad. Varg Vikernes claims to be a relative to Vidkun Quisling\u00a0through his great-great-grandmother See <a href=\\\"https:\/\/www.burzum.org\/eng\/library\/2011_interview_druvis.shtml\\\">https:\/\/www.burzum.org\/eng\/library\/2011_interview_druvis.shtml<\/a>.\",\"id\":\"84f6a0aa-c50f-4de0-a4c8-b5650e8a70a4\"},{\"content\":\"See <a href=\\\"https:\/\/no.wikipedia.org\/wiki\/Solkorset\\\">https:\/\/no.wikipedia.org\/wiki\/Solkorset<\/a>. My translation.\",\"id\":\"5cac7e52-9aaf-4502-aa84-6cff1636ecbc\"},{\"content\":\"Morgenbladet no. 3, 21\u201327 January 2022, pp. 42\u201343. My translation.\",\"id\":\"fafefc35-3b08-40df-a722-955cc67d7795\"},{\"content\":\"George Sinclair is incorrectly referred to as Colonel in the song.\",\"id\":\"17fcf0b7-8208-4faf-8de6-e71920779207\"},{\"content\":\"Folque, <em>Folque<\/em> (1974), \u00abSinclairvise\u00bb.\",\"id\":\"d7225dad-b0a7-481c-91e6-b977b4c6f40e\"},{\"content\":\"My translation.\",\"id\":\"4860402f-edfd-4780-b8b7-0e0f94b12d29\"},{\"content\":\"Wikipedia: <a href=\\\"https:\/\/no.wikipedia.org\/wiki\/Zinklars_vise\\\">https:\/\/no.wikipedia.org\/wiki\/Zinklars_vise<\/a>.\",\"id\":\"d92fd959-07c1-4b75-a541-57709ca9c7db\"},{\"content\":\"In 2008, Faroese Viking metallers T\u00fdr included their own version of Zinklars vise under the name \\\"Sinklars V\u00edsa\\\" on their album Land. The former singer of T\u00fdr, P\u00f3l Arni Holm, is now the vocalist of Hamradun. They also recorded \\\"Sinklars Visa\\\" on their first album Hamradun (2015). Both of these versions, which should probably be called folk metal, would probably be characterized by Nagell as something that should have been deleted. And I have to agree with him. They are two terrible versions.\",\"id\":\"d5b9b3a7-95c5-4538-8fe8-6b871d6a6e7d\"},{\"content\":\"The song is taken from Skard, V. (1967) and Holst, H. P., Mellin, G.H. &amp; Munch, A. (1870).\",\"id\":\"36b6d04a-ff1c-4a03-8463-34eadec358ad\"},{\"content\":\"Another band with almost the same name as Storm, namely Stormti, also clearly inspired by Edvard Storm, made an album in 1993 called <em>Edvard Storm \u2013 Viso I Gomol Og Ny Drakt<\/em> where \u201cZinklars Vise\u201d is included in a slightly different version than Folque\u2019s version. In 1996 the album <em>Tidlause Tonar<\/em> was released where the song \u201cAagots Fjeldsang\u201d is included. As we will see, Storm\u2019s \u201cNagellstev\u201d is based on a version of this song. I know nothing about Stormti, and there is nothing to be found online either.\",\"id\":\"f901d3dc-a18d-4a60-ad00-1d91c29be90b\"},{\"content\":\"Sturlason (1980), p. 91.\",\"id\":\"b566bec2-3aa5-40fd-8986-ca150a39836c\"},{\"content\":\"Frans-Arne H. Stylegar writes in my translation from Norwegian: \\\"The church's campaign against horse meat dates back to the first half of the 700s, when Pope Gregory III ordered St. Boniface, the apostle of Germany, to prohibit the eating of horse meat among the new converts because of the connection between the pagan rituals of the Germans and the eating of horse meat. Already in late antiquity, the Romans had considered eating horse meat to be something particularly pagan.\\\" http:\/\/arkeologi.blogspot.com\/2013\/03\/smaken-av-hest.html\",\"id\":\"2b327f11-b3be-4bef-884b-4df4f3c72b4f\"},{\"content\":\"\\\"The winter thereafter the king prepared a Yule feast in More, and eight chiefs resolved with each other to meet at it. Four of them were from without the Throndhjem district\u2014namely, Kar of Gryting, Asbjorn of Medalhus, Thorberg of Varnes, and Orm from Ljoxa; and from the Throndhjem district, Botolf of Olvishaug, Narfe of Staf in Veradal, Thrand Hak from Egg, and Thorer Skeg from Husaby in Eyin Idre. These eight men bound themselves, the four first to root out Christianity in Norway, and the four others to oblige the king to offer sacrifice to the gods.\\\" <a href=\\\"https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0078\\\">https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0078<\/a>.\",\"id\":\"ce91c5a4-cab7-4a01-9466-95f81741c094\"},{\"content\":\"<a href=\\\"https:\/\/en.wikipedia.org\/wiki\/Nordmannen\\\">https:\/\/en.wikipedia.org\/wiki\/Nordmannen<\/a>.\",\"id\":\"97567568-6b0b-42e7-89da-3e2aac65fdc0\"},{\"content\":\"See <a href=\\\"https:\/\/www.nynorsk.no\/ivar-aasen\/nordmannen\/korrekt-versjon-nordmannen\/\\\">https:\/\/www.nynorsk.no\/ivar-aasen\/nordmannen\/korrekt-versjon-nordmannen\/<\/a>.\",\"id\":\"cca0720a-39e8-49e6-9bbf-e58013032cd6\"},{\"content\":\"See <a href=\\\"https:\/\/en.wikipedia.org\/wiki\/Isengard\\\">https:\/\/en.wikipedia.org\/wiki\/Isengard<\/a> og <a href=\\\"https:\/\/no.wikipedia.org\/wiki\/Jarnagard\\\">https:\/\/no.wikipedia.org\/wiki\/Jarnagard<\/a>.\",\"id\":\"2a7ab8be-f512-4991-ae48-0c1ec6d4f187\"},{\"content\":\"See Wikipedia <a href=\\\"https:\/\/en.wikipedia.org\/wiki\/Theatre_War\\\">https:\/\/en.wikipedia.org\/wiki\/Theatre_War<\/a>.\",\"id\":\"f48ee3b5-83d7-4e01-b9fe-7c13ae64c532\"},{\"content\":\"Another unflattering incident in Haavard Folkesson Helle's life was that, at the age of 17, he narrowly escaped a sodomy conviction for having had sex with a cow. See <a href=\\\"https:\/\/lokalhistoriewiki.no\/wiki\/H\u00e5vard_Hedde\\\">https:\/\/lokalhistoriewiki.no\/wiki\/H\u00e5vard_Hedde<\/a>.\",\"id\":\"2d05aa9c-5192-4175-bd48-bcc77561c7e7\"},{\"content\":\"See <a href=\\\"https:\/\/sunn.bandcamp.com\/track\/the-gates-of-ballard\\\">https:\/\/sunn.bandcamp.com\/track\/the-gates-of-ballard<\/a>.\",\"id\":\"efedd294-6d48-43ce-b479-2cc126e99c8b\"},{\"content\":\"A version exists in Buen, Myhren &amp; Garn\u00e5s (1978), pp. 208\u2013209.\",\"id\":\"2b8281f5-0954-416a-a57a-12a065412cec\"},{\"content\":\"See Buen, Myhren &amp; Garn\u00e5s (1978), pp. 208\u2013209.\",\"id\":\"10a02177-40b2-47ca-8015-67f7c91e8eb5\"},{\"content\":\"See <a href=\\\"https:\/\/snl.no\/Fjeldeventyret\\\">https:\/\/snl.no\/Fjeldeventyret<\/a>.\",\"id\":\"675f581d-c45e-4408-942c-051afb0cc33f\"},{\"content\":\"Summary taken from <a href=\\\"https:\/\/snl.no\/Fjeldeventyret\\\">https:\/\/snl.no\/Fjeldeventyret<\/a>.\",\"id\":\"0c37237f-5a8d-4bb5-b381-c7e72be700fe\"},{\"content\":\"See <a href=\\\"https:\/\/snl.no\/lokk\\\">https:\/\/snl.no\/lokk<\/a>.\",\"id\":\"45f06183-f43d-44fb-bd67-7556634a59b8\"},{\"content\":\"Semb (1922\/1991), p. 303. Slightly modernized version of Janson's original poem \\\"Paa fjellet\\\", pp. 33\u201334. A fifth stanza has also been removed. The melody was one of the most famous folk tunes of the 19th century.\",\"id\":\"f4fdfe93-0834-44bf-ad94-e4f3eb209db6\"},{\"content\":\"Puls (1995), no. 8, p. 7.\",\"id\":\"f30122c0-8483-42d8-bde2-f70fd655f6f4\"},{\"content\":\"Puls (1995), no. 8, p. 7.\",\"id\":\"94ed848c-698c-4788-a9ec-8e880dbfdeb3\"},{\"content\":\"Norwegian Wikipedia states the following regarding <em>bl\u00e5menn<\/em>: \\\"Bl\u00e5mann (plural: bl\u00e5menn), or <em>bl\u00e1ma\u00f0r<\/em> in Old Norse, was the name used by the ancient Norse for people with dark skin, meaning 'negroes' and Moors, i.e., North Africans. The word is used, among other things, in folk ballads from the Middle Ages. In the past, <em>bl\u00e1<\/em> could mean blue, dark blue, and black.\\\" <a href=\\\"https:\/\/no.wikipedia.org\/wiki\/Bl\u00e5menn\\\">https:\/\/no.wikipedia.org\/wiki\/Bl\u00e5menn<\/a>.\",\"id\":\"971a8c6a-64b7-4f7f-8f36-17a3e7582e09\"},{\"content\":\"Snorri (1980), s. 611.\",\"id\":\"ad06d7d1-7ebc-4c92-a916-e1c57fd79004\"},{\"content\":\"<a href=\\\"https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0692\\\">https:\/\/www.gutenberg.org\/cache\/epub\/598\/pg598-images.html#link2H_4_0692<\/a>.\",\"id\":\"d50faff0-ea44-4546-9acb-7b630d77bd78\"},{\"content\":\"See <a href=\\\"https:\/\/snl.no\/religionsfrihet\\\">https:\/\/snl.no\/religionsfrihet<\/a>.\",\"id\":\"56d93129-2888-4ee5-9627-2551da5ead20\"},{\"content\":\"Hodne (1995), pp. 29\u201330.\",\"id\":\"ad604d8b-3b44-40fe-a4ab-d084366b5f33\"},{\"content\":\"L\u00f8we (2012), p. 86.\",\"id\":\"762a7182-4f76-44e2-aa4c-1756f842180d\"},{\"content\":\"Poulsen (1931), pp. 43\u201348.\",\"id\":\"5fc83e96-ba56-41d8-a14b-25be79644b31\"},{\"content\":\"Retrieved from: <a href=\\\"https:\/\/snl.no\/Fenrisulven\\\">https:\/\/snl.no\/Fenrisulven<\/a>.\",\"id\":\"1af83e69-fb86-4174-b284-831be30412af\"},{\"content\":\"B\u00f8rli, 1970, p. 39. My translation.\",\"id\":\"81e98dc9-bfd5-4711-876a-f813816b0fae\"},{\"content\":\"It is unclear whether the text here is \\\"dyr\\\".\",\"id\":\"c236e697-251f-4e07-b630-195785655329\"},{\"content\":\"Photo by Daniel Georg Nyblin (1826\u20131910) \u2013 Cropped versions of File:Portrett av Henrik Ibsen, 1863-64.jpg, Offentlig eiendom, <a href=\\\"https:\/\/commons.wikimedia.org\/w\/index.php?curid=92275309\\\">https:\/\/commons.wikimedia.org\/w\/index.php?curid=92275309<\/a>.\",\"id\":\"a49d9826-5d9f-4c48-a537-0c13dcac6d27\"},{\"content\":\"The report is written by E. H., p. 2. <a href=\\\"https:\/\/www.nb.no\/items\/514dc27e9822c46e00aebf96e0755154\\\">https:\/\/www.nb.no\/items\/514dc27e9822c46e00aebf96e0755154<\/a>.\",\"id\":\"81a5c417-623c-4f75-8db6-e1e19e87e876\"},{\"content\":\"Tveiten (1952), p. 76.\",\"id\":\"11841c09-19bf-45ba-b2e0-e996d320adee\"},{\"content\":\"Tveiten (1943), pp. 134\u2013135.\",\"id\":\"8b7f362d-d7dc-4c7c-b458-660eeac7c16a\"},{\"content\":\"Tveiten (1943), pp. 23\u201324.\",\"id\":\"45dca0f3-405b-4536-bf7b-cff838d68564\"},{\"content\":\"Garborg (1895\/1993), p. 127.\",\"id\":\"f2531f93-db1d-4dbc-b974-3d1873714c9d\"},{\"content\":\"Garborg (1895\/1993), p. 129.\",\"id\":\"66509a1c-4dde-4d3e-8ba6-61c7a26a4e2c\"},{\"content\":\"Garborg (1895\/1993), p. 130.\",\"id\":\"a9234633-bf5d-4143-b8e5-39fc2d6000ff\"},{\"content\":\"According to Wikipedia, <em>Folkemusikktimen<\/em> (which began as <em>Folkemusikkhalvtimen<\/em>) is one of the world's oldest regular radio programs and has aired almost continuously since 1931. Leiv Solberg is the fifth host in the program's history.\",\"id\":\"25fffa44-5119-40a6-bb83-c3c518ba3b34\"},{\"content\":\"In 2021, Leiv Solberg was awarded the King's Medal of Merit. He celebrated the occasion with, among others, his NRK colleague J\u00f8rn Erik Jensen, who once played guitar in Folque and was part of the release of their debut album <em>Folque<\/em> (1974). See <a href=\\\"https:\/\/www.folkemusikk.no\/leiv-solberg-kongens-fortenstmedalje\/\\\">https:\/\/www.folkemusikk.no\/leiv-solberg-kongens-fortenstmedalje\/<\/a>.\",\"id\":\"4c20895a-3d43-4cd4-9af2-3db71c8c073d\"},{\"content\":\"The artist Erik Werenskiold gave King Olav a resemblance to Fridtjof Nansen in his illustrations, which likely reflects the importance of this king to Norway's state formation and identity.\",\"id\":\"edad097f-c3b0-44d7-bbc8-7318f66e7483\"},{\"content\":\"The song can be listened to here: <a href=\\\"https:\/\/youtu.be\/g8VG1M2Wsj0\\\">https:\/\/youtu.be\/g8VG1M2Wsj0<\/a>.\",\"id\":\"1dc45081-ff82-4268-a519-1f7231e5bfe6\"},{\"content\":\"See <a href=\\\"https:\/\/snl.no\/Solveigs_sang\\\">https:\/\/snl.no\/Solveigs_sang<\/a>.\",\"id\":\"d18adcaa-c9ba-4ac2-96eb-4d16fe48c55a\"},{\"content\":\"Ibsen (1867), <em>Peer Gynt: A Dramatic Poem<\/em>, p. 167, <a href=\\\"https:\/\/archive.org\/details\/peergyntdramatic00ibseuoft\/peergyntdramatic00ibseuoft\/mode\/2up\\\">https:\/\/archive.org\/details\/peergyntdramatic00ibseuoft\/peergyntdramatic00ibseuoft\/mode\/2up<\/a>.\",\"id\":\"ddc6e08c-f0c9-4cb7-81b0-015449627d08\"},{\"content\":\"Vinje (1861\/1996), p. 59.\",\"id\":\"5265a93f-cf42-4121-af17-b054e49b6cd6\"},{\"content\":\"Vinje (1864\/1948), p. 155.\",\"id\":\"3714d476-732d-497b-ac1b-50c301dfa70c\"},{\"content\":\"Holtsmark (1970), p. 68.\",\"id\":\"f43b7d00-df74-432f-8b5f-3c0d7d2b3dfb\"},{\"content\":\"The quote from <em>V\u00f6lusp\u00e1<\/em> is taken from <a href=\\\"https:\/\/www.voluspa.org\/voluspa56-60.htm\\\">https:\/\/www.voluspa.org\/voluspa56-60.htm<\/a>.\",\"id\":\"45d56198-7618-4027-a37f-defd84d1e4cc\"},{\"content\":\"Badiou (2009), p. 59.\",\"id\":\"7792924a-0054-47e4-86d1-7225eb9cd929\"},{\"content\":\"Daniel (2014), p. 29.\",\"id\":\"729fe3ba-4752-4f83-ba13-5e79409dc7d5\"},{\"content\":\"Daniel (2014), p. 29.\",\"id\":\"ce09aceb-c86d-4e69-8977-b57a53e9ddf3\"},{\"content\":\"Puls (1995), no. 8, p. 7.\",\"id\":\"072b61da-dd32-4eff-98b7-79ec53b1cb03\"},{\"content\":\"<mfn><a href=\\\"https:\/\/snl.no\/nasjonalisme\\\">https:\/\/snl.no\/nasjonalisme<\/a>.<\/mfn>\",\"id\":\"44117586-42fd-43a2-bb9d-ab4ae48340b1\"}]"},"categories":[1160,1158],"tags":[1172],"class_list":["post-3023","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-black-metal","category-dark-meditations","tag-storm-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Oppi fjellet \/ Up in the mountains - M\u00f8rke meditasjoner<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en\" \/>\n<meta property=\"og:locale\" content=\"nb_NO\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Oppi fjellet \/ Up in the mountains - M\u00f8rke meditasjoner\" \/>\n<meta property=\"og:description\" content=\"In February 1995, the supergroup Storm released their debut album Nordavind, a fusion of old traditional folk tunes and black metal. The Norwegian words storm and nordavind mean &laquo;storm&raquo; and &laquo;north wind&raquo; respectively in English. Storm started as a duo consisting of Sigurd &laquo;Satyr&raquo; Wongraven from Satyricon, and Gylve Fenris &laquo;Fenriz&raquo; Nagell from Darkthrone. Towards [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/morkemeditasjoner.no\/?p=3023&amp;lang=en\" \/>\n<meta property=\"og:site_name\" content=\"M\u00f8rke meditasjoner\" \/>\n<meta property=\"article:published_time\" content=\"2022-02-07T21:05:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-04-19T17:58:53+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"594\" \/>\n\t<meta property=\"og:image:height\" content=\"583\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Helge Kaasin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Skrevet av\" \/>\n\t<meta name=\"twitter:data1\" content=\"Helge Kaasin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Ansl. lesetid\" \/>\n\t<meta name=\"twitter:data2\" content=\"155 minutter\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en\"},\"author\":{\"name\":\"Helge Kaasin\",\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/#\\\/schema\\\/person\\\/068b71937f031d11c76cac94f404e820\"},\"headline\":\"Oppi fjellet \\\/ Up in the mountains\",\"datePublished\":\"2022-02-07T21:05:00+00:00\",\"dateModified\":\"2026-04-19T17:58:53+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en\"},\"wordCount\":26012,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/#\\\/schema\\\/person\\\/068b71937f031d11c76cac94f404e820\"},\"image\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/morkemeditasjoner.no\\\/wp-content\\\/uploads\\\/2022\\\/01\\\/hefte_01.jpg\",\"keywords\":[\"Storm\"],\"articleSection\":[\"Black Metal\",\"Dark meditations\"],\"inLanguage\":\"nb-NO\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en\",\"url\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en\",\"name\":\"Oppi fjellet \\\/ Up in the mountains - M\u00f8rke meditasjoner\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/morkemeditasjoner.no\\\/wp-content\\\/uploads\\\/2022\\\/01\\\/hefte_01.jpg\",\"datePublished\":\"2022-02-07T21:05:00+00:00\",\"dateModified\":\"2026-04-19T17:58:53+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en#breadcrumb\"},\"inLanguage\":\"nb-NO\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"nb-NO\",\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en#primaryimage\",\"url\":\"https:\\\/\\\/morkemeditasjoner.no\\\/wp-content\\\/uploads\\\/2022\\\/01\\\/hefte_01.jpg\",\"contentUrl\":\"https:\\\/\\\/morkemeditasjoner.no\\\/wp-content\\\/uploads\\\/2022\\\/01\\\/hefte_01.jpg\",\"width\":594,\"height\":583},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?p=3023&lang=en#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Hjem\",\"item\":\"https:\\\/\\\/morkemeditasjoner.no\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Oppi fjellet \\\/ Up in the mountains\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/#website\",\"url\":\"https:\\\/\\\/morkemeditasjoner.no\\\/\",\"name\":\"M\u00f8rke meditasjoner\",\"description\":\"Filosofi, kulturhistorie og metall\",\"publisher\":{\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/#\\\/schema\\\/person\\\/068b71937f031d11c76cac94f404e820\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"nb-NO\"},{\"@type\":[\"Person\",\"Organization\"],\"@id\":\"https:\\\/\\\/morkemeditasjoner.no\\\/#\\\/schema\\\/person\\\/068b71937f031d11c76cac94f404e820\",\"name\":\"Helge Kaasin\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"nb-NO\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/b6c7a6757f4380803cf5d49f09e39a8fa0b02535d56aa6af60676515cf38d96f?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/b6c7a6757f4380803cf5d49f09e39a8fa0b02535d56aa6af60676515cf38d96f?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/b6c7a6757f4380803cf5d49f09e39a8fa0b02535d56aa6af60676515cf38d96f?s=96&d=mm&r=g\",\"caption\":\"Helge Kaasin\"},\"logo\":{\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/b6c7a6757f4380803cf5d49f09e39a8fa0b02535d56aa6af60676515cf38d96f?s=96&d=mm&r=g\"},\"sameAs\":[\"https:\\\/\\\/morkemeditasjoner.no\"],\"url\":\"https:\\\/\\\/morkemeditasjoner.no\\\/?author=1\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Oppi fjellet \/ Up in the mountains - M\u00f8rke meditasjoner","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en","og_locale":"nb_NO","og_type":"article","og_title":"Oppi fjellet \/ Up in the mountains - M\u00f8rke meditasjoner","og_description":"In February 1995, the supergroup Storm released their debut album Nordavind, a fusion of old traditional folk tunes and black metal. The Norwegian words storm and nordavind mean &laquo;storm&raquo; and &laquo;north wind&raquo; respectively in English. Storm started as a duo consisting of Sigurd &laquo;Satyr&raquo; Wongraven from Satyricon, and Gylve Fenris &laquo;Fenriz&raquo; Nagell from Darkthrone. Towards [&hellip;]","og_url":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en","og_site_name":"M\u00f8rke meditasjoner","article_published_time":"2022-02-07T21:05:00+00:00","article_modified_time":"2026-04-19T17:58:53+00:00","og_image":[{"width":594,"height":583,"url":"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg","type":"image\/jpeg"}],"author":"Helge Kaasin","twitter_card":"summary_large_image","twitter_misc":{"Skrevet av":"Helge Kaasin","Ansl. lesetid":"155 minutter"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en#article","isPartOf":{"@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en"},"author":{"name":"Helge Kaasin","@id":"https:\/\/morkemeditasjoner.no\/#\/schema\/person\/068b71937f031d11c76cac94f404e820"},"headline":"Oppi fjellet \/ Up in the mountains","datePublished":"2022-02-07T21:05:00+00:00","dateModified":"2026-04-19T17:58:53+00:00","mainEntityOfPage":{"@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en"},"wordCount":26012,"commentCount":0,"publisher":{"@id":"https:\/\/morkemeditasjoner.no\/#\/schema\/person\/068b71937f031d11c76cac94f404e820"},"image":{"@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en#primaryimage"},"thumbnailUrl":"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg","keywords":["Storm"],"articleSection":["Black Metal","Dark meditations"],"inLanguage":"nb-NO","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/morkemeditasjoner.no\/?p=3023&lang=en#respond"]}]},{"@type":"WebPage","@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en","url":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en","name":"Oppi fjellet \/ Up in the mountains - M\u00f8rke meditasjoner","isPartOf":{"@id":"https:\/\/morkemeditasjoner.no\/#website"},"primaryImageOfPage":{"@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en#primaryimage"},"image":{"@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en#primaryimage"},"thumbnailUrl":"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg","datePublished":"2022-02-07T21:05:00+00:00","dateModified":"2026-04-19T17:58:53+00:00","breadcrumb":{"@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en#breadcrumb"},"inLanguage":"nb-NO","potentialAction":[{"@type":"ReadAction","target":["https:\/\/morkemeditasjoner.no\/?p=3023&lang=en"]}]},{"@type":"ImageObject","inLanguage":"nb-NO","@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en#primaryimage","url":"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg","contentUrl":"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg","width":594,"height":583},{"@type":"BreadcrumbList","@id":"https:\/\/morkemeditasjoner.no\/?p=3023&lang=en#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Hjem","item":"https:\/\/morkemeditasjoner.no\/"},{"@type":"ListItem","position":2,"name":"Oppi fjellet \/ Up in the mountains"}]},{"@type":"WebSite","@id":"https:\/\/morkemeditasjoner.no\/#website","url":"https:\/\/morkemeditasjoner.no\/","name":"M\u00f8rke meditasjoner","description":"Filosofi, kulturhistorie og metall","publisher":{"@id":"https:\/\/morkemeditasjoner.no\/#\/schema\/person\/068b71937f031d11c76cac94f404e820"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/morkemeditasjoner.no\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"nb-NO"},{"@type":["Person","Organization"],"@id":"https:\/\/morkemeditasjoner.no\/#\/schema\/person\/068b71937f031d11c76cac94f404e820","name":"Helge Kaasin","image":{"@type":"ImageObject","inLanguage":"nb-NO","@id":"https:\/\/secure.gravatar.com\/avatar\/b6c7a6757f4380803cf5d49f09e39a8fa0b02535d56aa6af60676515cf38d96f?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/b6c7a6757f4380803cf5d49f09e39a8fa0b02535d56aa6af60676515cf38d96f?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b6c7a6757f4380803cf5d49f09e39a8fa0b02535d56aa6af60676515cf38d96f?s=96&d=mm&r=g","caption":"Helge Kaasin"},"logo":{"@id":"https:\/\/secure.gravatar.com\/avatar\/b6c7a6757f4380803cf5d49f09e39a8fa0b02535d56aa6af60676515cf38d96f?s=96&d=mm&r=g"},"sameAs":["https:\/\/morkemeditasjoner.no"],"url":"https:\/\/morkemeditasjoner.no\/?author=1"}]}},"jetpack_featured_media_url":"https:\/\/morkemeditasjoner.no\/wp-content\/uploads\/2022\/01\/hefte_01.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=\/wp\/v2\/posts\/3023","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3023"}],"version-history":[{"count":101,"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=\/wp\/v2\/posts\/3023\/revisions"}],"predecessor-version":[{"id":3206,"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=\/wp\/v2\/posts\/3023\/revisions\/3206"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=\/wp\/v2\/media\/1030"}],"wp:attachment":[{"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3023"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3023"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/morkemeditasjoner.no\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3023"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}